CATALOGUE 

of  the 

A.  de  Ridder  Collection 

Exhibited  at  the 

F.  Kleinberger  Galleries 

In  New  York,  709  Fifth  Avenue 
November-December,  1913 


Price  75  Cents 


THE  F.  KLEINBERGER  GALLERIES 

Established  1848 


PAMS 

9  Rue  de  FEchelle 


NEW  YORK 
709  Fifth  Avenue 


The  Collection  of  Pictures 


of  the  late 

Herr  A.  de  Ridder 

Formerly  in  his  Villa  at  Shonberg 

near  Cronberg  in  the  Taunus 


Catalogued  and  described  by 

Wilhelm  Bode 


Translated  by  Harry  Virgin 


On  Exhibition  and  on  Private  Sale  at  the 

F.  Kleinberger  Galleries 

709  Fifth  Avenue,  New  York 


Digitized  by  the  Internet  Archive 
in  2018  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/collectionofpictOOridd 


PREFACE 


HIS  Catalogue  is  an  extract  of  the 
Catalog  de  Luxe  written  by  Dr. 
Wilhelm  Bode,  Director-General  of 
the  Kaiser-Friedrich-Museum  in  Berlin 
and  published  by  Julius  Bard,  Berlin. 

The  Catalogue  de  Luxe,  with  87  Copperplate 
engravings,  limited  to  200  copies,  is  for  sale  at  the 
F.  Klein berger  Galleries,  New  York  and  Paris,  and 
Julius  Bard,  Berlin. 

The  Paintings  described  in  this  Catalogue  are 
for  private  sale  at  the  F.  Kleinberger  Galleries , 
where  prices  and  particulars  can  be  obtained. 

The  measurements  of  the  paintings  are  given 
without  frames  and  in  centimetres.  The  terms 
“right”  and  “left”  are  to  be  understood  from  the 
spectator’s  point  of  view. 


The  entire  Collection  will  be  on  view  between 
November  24th  and  December  15th  at  the  F. 
Kleinberger  Galleries,  709  Fifth  Avenue.  An 
admission  fee  will  be  charged  of 


50  cents . from  10  a.  m.  to  2  p.m. 

and  $1.00 . from  2  p.m.  to  6  p.m. 


the  proceeds  of  which  shall  be  for  the  benefit  of  the 
“New  York  Association  for  Improving  the  Condi¬ 
tion  of  the  Poor”  and  the  “Montefiore  Home,  a 
Hospital  for  Chronic  Invalids  and  Country  Sanitar¬ 
ium  for  Consumptives. 


New  York,  November  1913 


F.  Kleinberger 


T  will  seem  to  anyone  who  turns  over  the 
pages  of  this  catalogue  and  glances  at  the 
plates,  as  if  the  collector  who  called  this 
gallery  into  being  started  out  with  the  happy 
idea  of  getting  together  masterpieces  of  all 
the  foremost  artists  of  the  Dutch  and  Flemish 
Schools,  and  that  he  pursued  this  object  with  rare  energy 
and  extraordinary  success.  As  a  matter  of  fact,  Herr  August 
de  Ridder  began  as  most  collectors  have  begun,  and  if  this 
gallery  almost  gives  the  impression  of  a  public  collection 
made  on  fixed  principles,  this  is  owing  to  the  circumstance 
that  with  his  predilection  for  art  and  love  of  collecting,  the 
owner  attained  by  degrees  to  a  full  appreciation  of  works  of 
art,  and  that  since  that  time  he  spared  no  pains  or  expense 
to  rid  his  collection  of  what  was  spurious  or  mediocre,  and 
systematically  to  enrich  it  with  first  class  pictures. 

As  we  mentioned  above,  Herr  de  Ridder  began  in  the 
same  way  as  the  great  majority  of  collectors,  viz:  with 
modern  pictures;  and  this  was  natural,  as  contemporary 
works  appeal  to  us  most  readily.  At  the  same  time  he 
manifested  his  independence  of  taste  by  his  choice  of  artists 
and  the  works  which  he  purchased  from  them.  In  Frankfort, 
the  chief  scene  of  his  labours,  he  came  into  contact  with  the 
best  painters  of  the  Frankfort  and  Cronberg  schools,  and 
managed  to  secure  choice  works  by  Anton  Burger, 
Adolf  Schreyer,  Peter  Becker  and  Carl  Morgenstern. 
Frequent  and  occasionally  prolonged  visits  to  Munich  were 
the  means  of  his  becoming  acquainted  with  artists  resident 
there,  with  whom  later  —  as  in  the  case  too  of  the  Frankfort 
artists  —  he  entered  into  closer  personal  relations.  We  may 
mention  especially  Wilhelm  Diez,  Lenbach  and  Ludwig 
Lofftz.  Herr  de  Ridder  was  thus  enabled  to  bring  together 
a  collection  of  works  by  these  and  several  other  contemporary 
and  earlier  artists  which  may  still  be  seen  in  his  Frankfort 
residence,  and  which  any  public  gallery  in  Germany  may 
well  envy  him. 


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1 

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miimiimmmnmmmiiss 

4 


At  the  same  time  an  old  fancy  was  revived  and  an  early 
love  rekindled  in  Munich.  A  Belgian  by  birth,  Herr  de 
Ridder  had  been  brought  up  in  his  native  town  of  Antwerp 
among  the  masterpieces  of  Flemish  and  earlier  Netherland 
artists,  and  in  the  Munich  Pinacothek  he  saw  and  admired 
the  glorious  works  of  these  grand  old  masters.  His  enthusiasm 
for  earlier  art  received  a  further  impetus  from  distinguished 
artists  with  whom  he  associated,  and  who  were  not  only 
admirers  of  the  old  masters  but  also  ardent  collectors  of 
early  works  of  art.  This  spurred  him  on  to  efforts  in  the  same 
direction,  at  first  tentatively  and  not  without  occasional 
blunders,  but  we  all  know  that  experience  has  to  be  bought. 
When  however  about  twenty  years  ago  the  French  impres¬ 
sionism  reached  Germany,  he  conceived  a  distaste  for  modern 
painting,  and  from  henceforth  confined  himself  exclusively 
to  collecting  old  masters.  Business  tours  which  took  Herr 
de  Ridder  to  America,  and  more  frequently  to  London  and 
Paris,  gave  him  an  opportunity  of  studying  the  treasures 
which  the  world  possesses  in  these  masterpieces,  and  system¬ 
atically  to  look  about  in  art-dealers’  shops,  auction  rooms, 
etc.  How  he  availed  himself  of  these  opportunities  may  be 
seen  by  a  glance  at  the  pictures  in  this  collection,  which  are 
here  reproduced  in  as  completely  faithful  facsimile  as  has 
been  found  possible. 

The  first  impression  of  this  catalogue  was  made  during 
the  life-time  of  Herr  de  Ridder,  but  only  shortly  before  his 
lamented  and  sudden  death,  on  May  13th  1911,  at  the  age 
of  seventy-four.  That  he  had  silently  and  zealously  been 
devoting  himself  to  art,  as  a  labour  of  love,  and  with  exquisite 
taste  and  rare  understanding  had  been  making  a  collection 
of  the  most  noteworthy  Dutch  and  Flemish  artists  of  the 
XVII.  Century,  such  as  is  almost  beyond  the  power  of  a 
private  individual  at  the  present  day,  was  known  to  few 
outside  his  family  circle. 

Since  the  demise  of  Herr  de  Ridder  the  collection  has 
passed  from  the  peaceful  villa  at  Schonberg  to  the  Stadel 
Institute  in  Frankfort-on-Main  as  a  loan,  in  order  that  by 
this  means  it  may  be  more  accessible  to  the  public. 

Berlin,  July  1913 

WILHELM  BODE 


5 


3  possess  an  example  of  the  Great  Master  of  the 
Dutch  School,  Rembrandt  van  Ryn,  whose  sway 
may  be  compared  with  that  of  Velasquez  over  the 
Spanish  School,  must  be  the  ambition  of  every 
collector,  especially  now- a- days  when  these  two 
artists  occupy  a  foremost  place  of  interest.  The 
realization  of  this  natural  ambition  is  rendered  more  difficult 
by  the  fact  that,  especially  in  America,  these  pictures  are  sought 
after  above  all  others,  and  in  consequence  fetch  enormous  prices. 
While  however  it  is  quite  the  exception  for  a  Velasquez  to  be 
offered  for  sale,  inasmuch  as  the  works  of  this  artist  —  with 
whom  painting  was  but  a  subordinate  occupation,  and  who  was 
only  permitted  to  paint  for  his  sovereign — only  very  occasionally 
left  the  palaces  of  Spain,  and  even  then  generally  as  presents  to 
foreign  courts,  the  hunt  after  lost  or  hitherto  unknown  Rem¬ 
brandts  has  been  attended  with  extraordinary  success.  Within 
the  last  ten  years  close  on  a  hundred  works  of  this  painter  have 
been  brought  to  light,  and,  in  consequence  of  the  high  prices 
which  they  almost  always  command,  have  come  into  the  market, 
and  it  may  confidently  be  assumed  that  in  the  immediate  future 
more  unknown  or  forgotten  pictures  of  this  artist  will  be  dis¬ 
covered  annually  and  be  brought  under  the  hammer. 

Apart  from  the  extraordinary  fecundity  of  Rembrandt,  this  is 
primarily  due  to  the  fact  that  until  a  few  decades  ago  not  only 
his  earlier  but  also  his  later  works  were  held  in  slight  estimation 
or  not  regarded  as  authentic.  And  yet  it  was  precisely  during 
these  periods,  particularly  in  his  younger  years,  that  the  artist 
was  especially  prolific.  Whereas  in  the  year  1870  Rembrandt’s 
biographer,  C.  Vosmaer,  could  hardly  point  to  a  dozen  pictures 
painted  before  1631,  we  now  know  of  about  eighty  which  must 
have  been  produced  during  these  early  years. 

Herr  de  Ridder  succeeded  during  the  last  decade  of  his  life 
in  securing  not  merely  one  but  as  many  as  three  works  of  this 
master. 

Rembrandt  displayed  from  the  outset  an  originality  seldom 
found  in  any  other  painter.  Even  in  his  very  earliest  pictures 
which  have  been  preserved  to  us,  and  which  he  painted  when  he 
had  barely  passed  his  twentieth  year,  he  aims  at  stirring  the  emo¬ 
tions  by  effective  treatment  of  the  subject  and  by  profundity  of 
expression  through  the  medium  of  strong  light  contrast  and  that 


6 


chiaroscuro  which  is  so  peculiarly  his  own.  The  small  but  effective 
biblical  and  occasionally  genre  compositions,  and  his  studies  of 
heads,  for  which  members  of  his  family  generally  sat  as  models, 
aroused  from  the  outset  the  interest  of  his  countrymen  to  a  very 
high  degree.  But  in  those  days,  not  compositions  but  portraits 
were  chiefly  demanded  and  most  highly  remunerated.  Young 
Rembrandt  too,  who  even  at  that  early  time  —  he  was  barely 
twenty -five  years  of  age  —  had  attained  a  considerable  artistic 
eminence,  was  required  by  the  public,  and  especially  by  the  rich 
patricians  of  Amsterdam,  to  paint  their  portraits.  The  son  of  a 
miller  in  but  a  small  way  of  business,  he  could  not  afford  to  dis¬ 
regard  such  lucrative  offers,  even  though  original  compositions 
appealed  far  more  to  his  rich  and  varied  imagination.  In  this 
way  the  artist  became,  for  a  time  at  least,  pre-eminently  a  portrait 
painter.  His  first  portraits,  mostly  of  small  size,  still  display  to 
some  extent  the  blunt  and  wilful  character  of  his  earliest  creations, 
but  he  soon  adapted  himself  to  the  requirements  of  his  patrons. 
The  uncompromising  Hotspur  took  a  lesson  from  the  Amsterdam 
portrait  painters,  bowed  to  caprices  of  fashion,  and  became,  and 
for  a  time  remained,  the  most  popular  and  sought-after  portrait 
painter  of  Holland. 

The  portraits  which  he  painted  to  order  during  the  time  between 
1632  and  his  marriage  in  1634,  and  occasionally  during  the  subse¬ 
quent  years  (we  now  know  of  more  than  fifty),  display  the  same 
unaffected  robust  conception,  the  precise  and  yet  powerful  treat¬ 
ment,  the  simple  manner  in  which  the  effect  of  daylight  is  pro¬ 
duced,  which  characterize  the  portraits  of  his  Amsterdam  con¬ 
temporaries, '  the  professional  portrait  painters  Nic.  Elias,  Thomas 
de  Keyser,  etc.  who,  though  immeasurably  inferior  to  Rembrandt 
in  talent,  could  still  teach  him  a  great  deal.  The  striking  char¬ 
acterization,  the  lofty  seriousness  and  incorruptible  sincerity,  the 
simple  conception  and  treatment  of  the  Dutch,  and  more  especially 
of  the  Amsterdam,  portrait  painters  of  this  time,  could  not  but 
furnish  the  young  Leyden  artist  — -  who  with  his  restless  exaggera¬ 
tion,  his  striving  after  striking  and  harsh  effects,  his  rugged  and 
eccentric,  sometimes  even  baroque  style  of  drawing  and  portraiture, 
was  deficient  in  free  mastery  of  form  —  with  elements  which  were 
lacking  to  his  own  art,  and  yet  were  absolutely  essential  to  its 
perfect  development. 

This  short  time  therefore,  during  which  the  young  artist  worked 
in  association  with  others,  in  order  to  earn  money  rapidly  rather 
than  as  a  conscious  self  discipline  for  the  culture  and  development 
of  his  frank  and  flowing  individuality,  must  have  been  of  enormous 
significance. 


7 


In  spite  of  this  bias  however,  Rembrandt  is  by  no  means  a 
mere  imitator  of  the  Amsterdam  portrait  painters  in  these  pictures. 
Not  only  did  he  speedily  overtake  and  surpass  them  in  their  own 
manner  but  added  from  his  own  personality,  by  a  fresh  and  vigorous 
conception  and  treatment,  much  that  was  novel  and  significant. 
The  figures  uniformly  breathe  a  delicacy  of  perception  such  as  de 
Keyser,  Ravesteyn,  Mierevelt  and  the  numerous  other  excellent 
portrait  painters  of  Holland  —  nay  even  such  as  Frans  Hals  him¬ 
self  —  in  the  early  decades  of  the  XVII.  Century,  were  unable  to 
impart  to  their  portraits.  Rembrandt  manages  to  invest  them 
with  an  “intimacy,”  a  warmth  and  frank  cordiality  of  expression 
in  addition  to  the  force  and  freshness  of  their  healthy  personality 
which  even  in  these  early  portraits  reveal  him  as  the  greatest 
portrayer  of  the  emotions  that  the  world  has  ever  seen. 

This  is  very  distinctly  shown  in  the  portraits  of  this  collection. 
The  portrait  of  a  man  of  middle  age  with  close  clipped  beard 
(No.  1)  may  be  identified  as  that  of  a  member  of  the  old  patrician 
family  Raman.  The  sitter  is  depicted  in  the  full  vigour  of  man¬ 
hood,  of  handsome  features  and  with  a  full  sense  of  his  own  im¬ 
portance,  but  with  a  distinctly  pleasing  expression.  Though  en¬ 
tirely  devoid  of  local  colouring,  as  became  the  sombre  costume  of 
that  time,  the  effect  of  colour  is  produced  by  the  freshness  of  the 
tints;  the  treatment  is  vigorous  and  the  chiaroscuro  is  more  pro¬ 
nounced  than  is  usual  in  his  portraits  painted  to  order,  merits 
which  are  all  the  more  apparent  owing  to  its  excellent  state  of 
preservation. 

From  the  date  of  his  first  acquaintance  with  Saskia,  wedded 
bliss  with  whom  the  artist  was  destined  to  enjoy  for  only  eight  short 
years,  this  attractive  figure  monopolized  his  interest  and  affection. 
It  was  probably  his  friend  the  art-dealer  Rombertus  van  Uylen- 
borc-h  who  in  1632  introduced  him  to  her  with  a  view  to  his  painting 
her  portrait.  In  the  following  year  he  became  betrothed  to  the 
young  beauty  and  executed  in  rapid  succession  a  number  of  por¬ 
traits  of  his  fiancee,  depicting  her  sometimes  in  gala  costume, 
sometimes  simply,  and  occasionally  even  in  true  genre  style,  but 
always  displaying  Rembrandt’s  own  peculiar  manner  in  treatment 
and  costumery.  In  the  summer  of  1634  Saskia  became  his  wife, 
and  the  happy  husband  now  painted  the  picture  in  which  she  is 
sitting  on  his  knee,  and  which  adorns  the  Royal  Gallery  at  Dresden; 
a  second  picture  of  himself  and  his  wife,  in  which  he  is  assisting 
her  in  putting  the  last  touches  of  ornament  to  her  costume,  pre¬ 
paratory  to  paying  a  formal  visit,  is  in  the  Royal  Collection  in 
Buckingham  Palace.  Both  pictures  were  painted  very  shortly 
after  their  marriage,  and  his  wife  also  sat  as  model  for  fantastically 


8 


decked-out  historical  or  allegorical  female  figures,  Jewish  heroines 
or  ancient  goddesses.  Her  flower-like  appearance  inspired  him  to 
depict  her  repeatedly  as  Flora,  the  best  known  of  which  repre¬ 
sentation  is  now  in  the  Eremitage  Gallery  in  St.  Petersburg,  and 
another  (No.  2)  is  in  this  collection.  It  is  in  all  probability 
the  earliest  of  these,  most  portrait-like  and  with  least  fantastic 
decoration,  half-length  and  in  oval  form,  apparently  a  study  for 
his  larger  pictures  dealing  with  the  same  subject.  It  is  a  charming 
coloured  portrait  of  Saskia  with  flowers  in  her  hair  and  some  more 
in  her  hand,  freer  in  arrangement  than  a  strict  portrait,  and  not 
intended  to  depict  the  features  with  absolute  fidelity.  To  what 
extent  pictures  of  this  kind  suited  the  taste  of  the  time  may  be 
gathered  from  a  casual  remark  on  the  back  of  one  of  Rembrandt’s 
drawings  of  this  period,  in  which  the  artist  notes  the  price  for  a 
copy  of  one  of  these  Floras  by  a  pupil  of  his.  About  1654,  that 
is  to  say  twenty  years  later,  was  painted  the  portrait  of  a  young 
girl  at  a  window  (No.  3),  a  work  of  the  artist’s  most  mature 
period,  and  which  until  lately  adorned  the  walls  of  Lord  Ridley’s 
London  residence.  The  age  of  the  sitter,  the  rich  fantastic  costume 
and  the  manner  in  which  the  artist  has  depicted  her  looking  out 
of  the  window,  suggest  that  his  mistress  Hendricke  is  here  por¬ 
trayed,  for  it  is  exactly  in  the  style  in  which  he  painted  her  a  few 
years  later,  but  the  shape  and  expression  of  the  face  render  this 
assumption  highly  improbable.  The  young  woman  is  wearing  a 
dress  of  dark  material,  cut  low  at  the  neck,  round  which  a  thick 
gold  chain  is  suspended;  on  the  brushed -back  hair  a  cap  of  dull 
red  material  is  coquettishly  perched,  whilst  the  heavy  curtain, 
which  she  is  pushing  back  from  the  window  with  her  right  hand, 
is  almost  a  bright  red.  In  spite  of  these  vivid  colours,  however, 
the  artist  has  managed  to  make  the  flesh  tints  even  still  more 
brilliant. 

The  de  Ridder  collection  affords  us  an  opportunity  of  com¬ 
paring  Rembrandt  as  a  portrait  painter  with  one  of  the  greatest 
portrait  painters  not  only  of  the  Dutch  but  of  all  schools,  viz.: 
Frans  Hals,  possessing  as  it  does  two  large  sized  excellent  por¬ 
traits  of  this  master,  both  from  the  collection  of  Graf  Mniczek, 
which  was  renowned  for  its  magnificent  Hals.  They  are  both 
portraits  of  females,  the  one  a  young  rosy-cheeked  damsel  in  a 
dark  grey  costume,  and  the  other  an  elderly  lady  in  deep  black. 
We  are  accustomed  to  hear  Frans  Hals  extolled  as  a  master  in 
the  portraiture  of  manhood,  while  his  bluntness  and  hilarity  are 
less  adapted  for  the  delineation  of  noble  womanhood.  With  these 
sentiments  I  cannot  agree.  Hals  was  the  product  of  his  age,  the 
character  of  which  was  distinctively  masculine  and  showed  no 


9 


trace  of  femininity.  Accordingly  even  the  women  betrayed  a 
masculine  air  in  their  character  and  exterior.  This  trait  is,  it  is 
true,  fully  brought  out  in  his  female  portraits,  but  the  artist  is 
thereby  giving  us  the  women  of  his  age  and  his  figures  are  not 
only  full  of  life  but  also  true  to  life.  Portraits  such  as  the  hand¬ 
some  young  woman  in  the  collection  of  Alphonse  Rothschild  in 
Paris,  or  the  very  plain  elderly  women  in  the  collection  of  Pierpont 
Morgan  and  James  Simon,  or  in  the  Metropolitan  Museum  in 
New  York,  are  masterly  portraitures  of  womanhood  which  are  in 
no  way  inferior  to  Hals’  most  celebrated  portraits  of  men,  such  as 
the  Junker  Willem  van  Heythuysen  in  the  Liechtenstein  Gallery, 
the  young  Jasper  de  Schade  van  Westram  in  the  Rudolfinum  at 
Prague,  the  Pictures  of  the  Civic  Guards  in  the  Museum  at 
Haarlem,  etc.  Hals  knew  precisely  how  to  seize  what  was  char¬ 
acteristic,  to  catch  the  expression  of  the  moment  and  at  the  same 
time  impart  to  his  models  a  touch  of  that  delicate  humour  which 
he  himself  possessed  in  so  high  a  degree.  It  is  on  this  account  that 
his  female  portraits  are  as  excellent  and  attractive  as  those  of  his 
men  and  children. 

Of  the  two  pictures  in  this  collection  one  is  a  half-length  portrait 
of  a  lady  of  twenty-eight  years  of  age,  standing  with  a  glove  in  her 
right  hand  (No.  4).  The  contrast  between  the  bright 
fashionable  costume  and  the  yellow  groundwork  is  highly  effective. 
The  tone  is  cool,  as  it  usually  is  in  the  painter’s  pictures  of  this 
time.  It  bears  the  date  1634,  and  is  equally  distinguished  by  a 
dignified  pose  and  animated  expression,  as  also  by  the  broad  and 
yet  tender  execution,  delicate  play  of  colour  and  light  tone.  Very 
different  is  the  second  picture  of  this  gallery,  the  portrait  of  the 
wife  of  Miehiel  Middelhoven,  a  Haarlem  minister  of  the  gospel 
(No.  5),  whose  own  portrait  has  passed  from  the  Mniczek 
collection  to  that  of  A.  Schloss  in  Paris.  Uprightness  and  bene¬ 
volence  are  visible  in  every  feature  of  the  good  old  lady.  The 
plain  dark  costume  accords  with  the  expression  of  thorough  homely 
simplicity  and  kindliness  as  well  as  with  the  calling  of  the  sitter’s 
husband.  The  clear  cool  black  is  here  too  brought  out  with  a 
diversity  of  tones  as  no  other  painter  except  Velasquez  was  abeto 
do,  and  at  the  same  time  the  embodiment  of  character  displayed 
by  the  features  rendered  in  a  masterly  manner.  This  rather  sombre 
tone  and  compactness  of  light  is  frequently  found  in  Hals’s  works 
of  the  early  forties,  and  is  due  no  doubt  to  the  influence  of  Rem¬ 
brandt’s  pictures,  to  which  almost  all  the  Dutch  artists  were  at 
that  time  more  or  less  subject. 

In  the  persons  of  his  numerous  sons  Frans  Hals  brought  up  a 
crowd  of  painters,  of  whom  none  however  equalled  him  and  only 


10 


a  few  became  portrait  painters.  One  of  these,  a  son  by  his  first 
marriage,  Johannes  Hals,  resembles  his  father  so  nearly  in  some 
life-sized  pictures,  the  authenticity  of  which  is  amply  attested  by 
his  full  signature,  that  in  the  case  of  a  number  of  pictures  hitherto 
attributed  to  the  elder  Frans,  but  which  are  for  him  rather  tame 
and  spiritless,  a  careful  scrutiny  is  necessary  before  we  can  be  certain 
whether  they  are  from  his  brush  or  from  that  of  his  son  Johannes. 
The  only  other  Haarlem  portrait  painter  who  exhibits  in  an  equal 
degree  the  influence  of  Frans  Hals  is  Cornelisz  Verspronck. 
The  free  style  of  arrangement,  the  fresh  joyous  expression,  the 
confident  pose,  and  occasionally  even  the  dashing  treatment  of  the 
elder  artist  are  found  too  in  this  painter’s  pictures.  An  excellent 
and  characteristic  illustration  of  this  is  shown  by  the  “Portrait 
of  a  young  Man  with  sunburnt  features”  (No.  6),  which 
bears  the  date  of  1639  and  is  one  of  the  earliest  dated  pictures 
which  have  been  preserved  to  us  of  this  artist  who,  be  it  remarked 
was  born  in  the  year  1597. 

Equally  unsuccessful  in  approaching  their  master’s  manner 
were  the  far  more  numerous  pupils  of  Rembrandt  and  painters  in 
his  style,  and  this  is  true  even  of  their  portraits,  though  in  this 
department  as  a  rule  their  best  work  was  shown.  That  which 
gives  the  portraits  from  the  Master’s  brush  their  real  significance 
and  greatest  charm,  viz.:  delineation  of  temperament  and  expres¬ 
sion  of  deep  feeling,  is  almost  entirely  lacking  in  his  pupils.  In 
fact,  these  cannot  as  a  rule  even  be  placed  alongside  the  earlier 
Dutch  portrait  painters,  inasmuch  as  the  simplicity  and  artlessness 
of  these  painters  is  wanting,  and  the  animation  of  light  and  pose 
which  they  have  copied  from  their  master  is  wholly  external  and 
rather  detracts  from  than  adds  to  the  expression.  Occasionally, 
but  very  occasionally,  do  we  find  a  pupil  of  his,  and  then  only  in 
early  works  when  he  was  most  under  his  master’s  influence,  coming 
within  measurable  distance.  The  most  notable  example  is  that 
of  Jacob  Backer.  His  “Regentesse”  in  an  orphanage  in  Amster¬ 
dam  is  hardly  inferior  to  Rembrandt’s  “Lesson  in  Anatomy,” 
and  several  simple  portraits,  especially  of  old  women  such  as  that 
in  the  Wallace  Collection  or  in  the  Thiem  Collection  of  the  Berlin 
Gallery,  have  hitherto  passed  without  challenge  as  Rembrandts 
on  account  of  their  close  affinity  with  the  works  of  the  artist. 
The  de  Ridder  Collection  possesses  a  few  excellent  portraits  of  this 
painter,  not,  it  is  true,  belonging  to  those  resembling  Rembrandt’s 
early  style  —  from  the  case  of  the  sitters  as  also  from  the  costumes 
they  must  have  been  painted  in  the  early  forties  —  but  which  in 
comparison  with  the  flat  tones  of  his  later  superficial  manner  are 
particularly  sound.  The  sitters,  too,  are  interesting  in  themselves: 


Holland’s  most  celebrated  goldsmith  Johannes  Lutrna  (No. 
7)  and  his  wife  (No.  8)  are  here  depicted:  both  full  of  life 
and  expression,  the  features  of  the  latter  being  particularly  sym¬ 
pathetic. 

The  addition  to  both  portraits  of  a  huge  ornamented  frame 
with  flourishes  in  the  bizarre  northern  baroque  style  is  intended 
no  doubt  to  refer  to  the  characteristic  decorations  of  the  sitter 
and  to  his  calling  as  goldsmith,  and  these  have  been  reproduced 
by  his  son  in  his  well  known  decorative  engravings. 

A  still  stronger  subjection  to  the  influence  of  Rembrandt  than 
is  shown  by  these  portraits  of  Backer  may  be  seen  in  a  few  pictures 
by  Bol  and  by  Flinck.  In  the  “Young  Girl  in  a  Door- way” 
(No.  9),  Ferdinand  Bol  —  if  we  are  right  in  ascribing  to 
him  this  picture  which  exhibits  unusual  vigour  compared  with 
most  of  his  works  —  has  imitated  those  well  known  pictures  of 
Rembrandt  painted  in  the  forties  which  gave  us,  after  the  same 
manner,  young  women  or  girls  in  a  door-way  or  window  to  serve 
as  a  frame.  Deviating  from  his  master,  the  artist  has  here  made 
the  room,  from  which  the  young  girl  is  looking  out,  light  toned, 
so  that  the  head  presents  a  dark  contrast.  In  the  other  portrait, 
Govert  Flinck  imitated  in  treatment  and  decoration  his  master’s 
manner  as  it  was  at  the  time  when  Flinck  was  his  pupil.  The 
young  man  who  is  the  subject  of  the  picture  is  dressed  as  a 
shepherd,  and  in  harmony  with  this  fantastic  costume  is  the  power¬ 
ful  chiaroscuro  and  the  rich  colouring  (No.  10).  This  de¬ 
tracts  from  the  portrait  character  of  the  picture  to  which,  no 
doubt  with  intention,  a  pronounced  genre  character  is  given. 
The  tone  and  treatment  resemble  those  of  Rembrandt,  in  about 
the  year  1635.  The  idea  of  clothing  the  subject  in  shepherd’s 
dress  was  not  Rembrandt’s,  but  rather  had  its  origin  in  the  taste 
of  the  subject  and  the  love  of  pastoral  romances.  Thus  we  find 
it  even  in  earlier  artists,  as  illustrated  by  a  picture  in  this  collec¬ 
tion,  the  portrait  of  a  young  lady  in  the  costume  of  a  shepherdess 
(No.  11)  by  Paulus  Moreelse.  This  painter  was  held  in 
especial  regard  and  highly  remunerated  for  pictures  of  this  kind. 
They  are,  like  the  one  under  consideration,  cool  in  tone,  very 
precise  in  execution,  even  exaggeratedly  so,  aiid  not  always  free 
from  stiffness  and  mannerism.  The  one  in  this  collection  is  fresher 
and  displays  more  charm  and  colour  than  most  of  his  pictures 
treating  of  the  same  subject.  The  sitter,  who  is  of  a  sympathetic 
exterior,  is  not  really  a  shepherdess  in  spite  of  the  lamb  beside 
her,  for  the  palm  in  her  hand  shows  that  she  is  meant  for  a  saint, 
in  fact  St.  Agnes,  of  whom  the  lamb  is  symbolic. 

Of  the  earlier  Dutch  portrait  painters  Thomas  de  Keijser  is, 


12 


next  to  Frans  Hals,  undoubtedly  the  soundest  and  most  original. 
Besides  his  huge  pictures  dealing  with  the  guilds  and  regents  and 
his  more  rare  life-sized  portraits,  he  made  his  reputation  by  small¬ 
sized  and  especially  full-length  portraits.  A  picture  of  this  kind 
is  the  “Young  Man  with  a  Dog”  (No.  12),  powerful  and 
pastose,  showing  a  pose  full  of  character  and  individuality.  In 
two  small  bust-length  pictures  from  his  brush  we  have  excellent 
and  characteristic  works  of  this  artist:  the  portrait  of  an  architect 
(No.  13),  a  later  production  of  about  1650,  in  which  the 
influence  of  Rembrandt  is  to  a  certain  extent  discernable,  and  the 
still  abler  early  portrait  of  “A  Man  in  a  broad-brimmed  hat” 
(No.  14). 

A  contemporary  of  these  artists,  Cornelius  Janssens,  emi¬ 
grated  in  his  youth  to  England,  which  country,  especially  as  it 
possessed  but  few  painters  of  its  own,  afforded  at  that  time  a 
rich  and  lucrative  field  for  foreign  portrait  painters.  Not  until 
Anthony  van  Dyck  gained  a  firm  footing  in  London  did  Janssen’s 
star  wane,  which  it  then  did  rapidly,  and  the  artist  fell  under  the 
influence  of  his  more  gifted  and  more  fortunate  rival,  whereby 
his  portraits,  which  hitherto  had  been  distinguished  by  their 
simplicity,  calm  dignity  and  a  bright  cool  tone  became  more  pre¬ 
tentious  and  more  animated  but  also  more  devoid  of  expression 
and  colder  and  flatter  in  tone.  A  good  example  of  his  early  style 
is  the  bust-length  portrait  of  a  young  man  (No.  15)  in  this 
collection. 

To  the  XVI.  Century  belongs  the  robust  portrait  of  the  Amster¬ 
dam  Burgomaster  Adrian  Cromhout  (No.  16)  which  as  the 
signature  informs  us  was  painted  in  1579.  From  a  comparison 
with  a  very  similar  picture,  also  bearing  the  artist’s  signature,  in  the 
“  Mauritshuis  ”  at  the  Hague,  the  collector  decided,  and  correctly 
so,  that  this  is  a  work  by  Adrian  Key  who  seems  to  have  been 
under  the  influence  of  Anthonis  Mor. 

Still  another  Dutch  master,  Gerard  Terborch,  is  represented 
in  this  collection  by  several  portraits;  and  we  are  thus  introduced 
to  the  genre  pictures  which  are  not  less  numerous  or  varied  and 
hardly  less  representative  than  the  portraits  proper.  Terborch’s 
portraits  always  have  a  genre  character  and  are  therefore  of  small 
size,  generally  with  a  few  pieces  of  furniture  introduced  to  indicate 
the  rank  and  station  of  the  sitter,  but  they  are  of  a  studied 
simplicity,  of  a  dignified  restfulness  and  freedom  from  artificiality 
in  arrangement,  pose  and  colouring  which  illustrate  most  strongly 
the  masterly  way  in  which  the  artist  brings  out  the  individuality 
of  the  subject.  Attention  has  repeatedly  been  called  to  the  affinity 
which  his  pictures  bear  to  those  of  Velasquez,  and  not  without 


13 


reason,  for  this  affinity  is  by  no  means  accidental,  as  Terborch 
in  his  younger  days  resided  for  some  time  in  Madrid.  This  collec¬ 
tion  possesses  several  such  pictures  of  the  artist  e.  g.:  the  small 
full-length  portraits  of  a  young  man  of  agreeable  exterior 
(No.  17)  and  of  his  wife  (No.  18),  in  a  room  with  rich  plush 
furniture,  and  the  half-length  figure  of  the  young  Herr  de  GraefT 
(No.  19),  so  we  are  informed  by  the  inscription  on  the  back 
of  the  picture.  The  sitter  is  certainly  no  Adonis,  but  the  artist 
has  so  contrived  to  invest  the  plain  features  with  energy  of  char¬ 
acter,  the  arrangement  and  colouring  are  so  delicate,  the  tone  so 
piquant,  and  the  execution  so  bold  in  spite  of  the  finesse  that 
very  few  of  Terborch’s  numerous  portraits  are  comparable  with 
this  little  masterpiece. 

It  is  far  more  difficult  now-a-days  to  acquire  a  genre  picture 
by  Terborch  than  one  of  his  portraits.  The  number  of  authentic¬ 
ated  works  by  his  brush  is  very  limited  and  most  of  the  best  of 
these  found  their  way  into  public  galleries,  or  into  private  collec¬ 
tions  which  are  not  likely  to  be  dispersed,  during  the  XVIII.  and 
XIX.  Centuries.  The  genre  paintings  which  now  and  again  are 
offered  for  sale  as  Terborch’s,  need  careful  inspection  before  it 
can  be  determined  whether  they  are  his  own  productions  or  merely 
replicas  which  the  artist  caused  to  be  executed  by  his  brother  and 
sister,  or  whether  they  are  not  even  later  copies.  There  are  replicas 
of  nearly  a  half  of  his  genre  pictures,  not  infrequently  several  of 
the  same  one  and  some  of  them  excellent  works.  A  picture  of 
which  there  are  several  replicas,  differing  slightly  or  not  at  all 
from  the  original,  is  the  “Interrupted  Lesson”  (No.  20), 
an  example  of  which  is  in  this  collection  bearing  the  autograph 
monogram  of  the  artist.  The  simple  subject  receives  a  delicate 
animation  through  the  rich  bright  colouring.  The  same  may  be 
said  of  another  far  more  considerable  picture  “The  Duet” 
(No.  21),  which  is  well  known  through  the  but  slightly  altered 
replica  in  the  London  National  Gallery.  This  too  bears  Terborch’s 
monogram. 

More  dull  in  the  colouring  is  a  third  genre  picture  in  this  col¬ 
lection:  “Two  young  men  and  a  young  lady  playing  cards,” 
(No.  22).  The  costumes  are  almost  entirely  of  grey  and 
black  hues,  the  yellow  dress  of  the  young  girl  is  of  dull  gloomy 
tone  in  the  tints,  only  in  the  blue  ribbons  in  the  hair  does  a 
brighter  colour  prevail,  but  the  grouping  of  the  few  colours  and 
their  shading  is  of  wonderful  delicacy.  Movement  and  expression 
too  are  kept  well  in  bounds  but  full  of  latent  animation,  and  the 
precise  execution  and  pastose  manner  produce  a  remarkable  and 
spirited  effect. 


14 


Of  Terborch’s  worthy  compeer  Gabriel  Metsu,  this  collection 
possesses  a  few  characteristic  pictures.  .  As  the  former  is  cool  and 
objective  so  is  the  latter  warm  and  subjective.  The  pictures 
dealing  with  similar  subjects  and  of  equal  size  of  these  two  make 
therefore  a  very  different  impression  upon  us.  From  a  purely 
artistic  point  of  view  Terborch  as  a  rule  stands  higher  than  Metsu, 
but  the  latter  appeals  more  to  our  heart  and  interests  us  more 
deeply.  The  “Young  Man  in  a  Room”  (No.  23)  is  sup¬ 
posed  to  be  the  artist’s  own  portrait.  This  title  is  probably  not 
a  correct  one  as  the  scroll  which  the  sitter  holds  in  his  right  hand 
seems  rather  to  point  to  a  savant;  moreover  in  1661,  when  this 
picture  was  painted,  Metsu  was  older  than  this  fair  young  man 
of  attractive  features  in  a  light  grey  suit  of  fashionable  cut;  neither 
does  it  in  the  least  resemble  the  young  man  in  the  well  known 
portrait  of  Metsu  and  his  wife  in  the  Dresden  Gallery,  which 
evidently  owed  its  origin  to  Rembrandt’s  celebrated  portrait  of 
himself  with  his  wife  sitting  on  his  knee.  The  treatment  in  this 
little  picture  which  was  acquired  from  the  collection  of  Lord 
Ashburton  is  of  extraordinary  freedom  and  breadth. 

Another  picture  by  Metsu  in  this  collection  is  one  quite  after 
the  artist’s  own  taste.  A  young  lady  decidedly  inclined  towards 
embonpoint  in  the  costume  of  the  well-to-do  Amsterdam  bourgeoisie 
of  about  the  middle  of  the  century,  sitting  with  her  little  dog  in 
her  lap,  is  taking  a  letter  from  her  servant  (No.  24).  The 
colours  are  as  little  pronounced  here  as  in  the  small  picture  de¬ 
scribed  above,  being  almost  exclusively  grey  and  brown  by  the 
side  of  thick  dark  black  and  white;  the  table  covering  alone  shows 
forcible  reddish  tones.  The  treatment  is  soft  and  finely  gradated; 
equally  delicate  is  the  drawing  and  modelling.  This  picture,  too, 
must  belong  to  the  middle  and  best  period  of  the  artist,  viz:  1661, 
the  date  given  upon  it.  To  these  two  small  pictures  Herr  de 
Ridder,  shortly  before  his  death  added  another  masterpiece,  “A 
young  lady  feeding  her  dog”  (No.  25),  a  characteristic  work 
of  the  artist’s  later  and  most  mature  period.  In  masterly  treat¬ 
ment  of  the  subject,  in  delicacy  of  tone  and  execution,  Metsu  may 
vie  in  such  pictures  as  these,  of  which  unfortunately  only  about 
a  dozen  are  preserved,  with  Terborch’s  best  depictions  of  social 
life,  while  he  excels  them  in  the  richness  and  animation  of  his 
subjects  and  the  impression  of  comfort  and  ease  which  he  conveys. 
This  work,  which  is  in  an  excellent  state  of  preservation,  was 
formerly  in  the  Delessert  Collection,  the  few  but  select  pictures 
of  which  —  as  far  as  my  memory  serves  me,  there  were  but  twenty- 
three  in  all  —  were  sold  by  auction  in  Paris  in  the  year  1869  and 
fetched  the  then  unheard  of  sum  of  nearly  a  million  and  a  half  francs. 


15 


Quieringh  Brekelenkam,  also  a  native  of  Leyden,  is  hardly 
inferior  to  Gabriel  Metsu,  his  senior  by  ten  years,  and  occasionally 
even  nearly  reaches  the  standard  of  Gerard  Dou.  In  treatment 
and  conception  he  is  very  akin,  but  his  subjects  are  generally 
taken  from  the  more  humble  ranks:  artisans  at  work,  shopkeepers 
in  their  shops,  or  the  homes  of  the  simple  plain  Dutch  town-folk 
are  portrayed  in  his  works.  A  characteristic  picture  of  this  kind 
is  “The  Fisherman”  (No.  26).  An  old  fisherman  who  has 
just  delivered  his  goods  in  the  kitchen  takes  this  opportunity  of 
making  love  to  the  young  cook.  This  subject  and  the  method 
of  treating  it  the  artist  has  borrowed  from  Gerard  Dou,  who  was 
the  model  of  all  the  Leyden  genre  painters.  The  chiaroscuro  and 
the  subordination  of  local  colouring  to  the  prevailing  tone  of  cool 
brownish  tints  may  be  traced  to  the  influence  of  the  quondam 
pupil  of  Rembrandt  so  that  we  may  attribute  this  picture  which 
is  painted  in  light  and  thin  colour  to  the  earlier  period  of  Brekelen¬ 
kam.  The  second  picture  from  his  brush  in  the  collection  and 
superior  to  the  first  is  “  The  interrupted  Music -lesson  ” 
(No.  27),  and  belongs  to  his  later  period  as  is  also  shown  by  the 
costume.  In  this  picture,  one  of  the  very  best  he  ever  painted, 
he  comes  very  close  indeed  to  Gabriel  Metsu.  The  subject  is 
simple  and  dramatic:  the  bright  light  comes  through  the  high 
window  into  the  cheerful  room  on  the  wall  of  which  is  an  imposing 
landscape  apparently  of  Everdingen.  The  local  colouring  is  far 
richer  and  more  varied  than  in  the  former  picture  and  yet  cool 
toned.  If  we  compare  him  with  Metsu’s  similar  and  contemp¬ 
oraneous  picture  executed  during  the  latter  part  of  his  life  —  both 
died  within  a  short  time  of  each  other  —  Brekelenkam  is  more 
dry  and  forcible  in  treatment  and  less  picturesque  in  conception 
even  in  a  masterpiece  such  as  this  is. 

How  differently  did  Jan  Steen  treat  the  same  subjects!  The 
de  Ridder  collection  affords  a  few  striking  examples  in  the  two 
pictures  entitled  “The  Music-lesson,”  the  one  by  plain  day 
light  (No.  28),  the  other  by  candle-light  (No.  29):  whereas 
in  Terborch  and  even  in  Metsu,  Brekelenkam  and  other  cognate 
artists  the  simple  scene  is  calm  and  restful,  without  intentional 
piquancy,  in  Steen  all  is  animation  with  the  object  of  producing 
dramatic  effect.  The  young  instructor  is  beating  time  for  his 
comely  pupil  with  such  zeal  that  expression  and  pose  are  almost 
the  caricatured  animation  of  a  snapshot,  while  the  nervous  awk¬ 
wardness  with  which  the  girl  —  in  delightful  contrast  with  the 
vivacity  of  her  instructor  —  is  trying  to  finger,  is  equally  illustrative 
of  the  photographic  keenness  of  observation  on  the  part  of  the 
artist.  In  the  “Duet  by  candle-light”  the  confidence  with  which 


16 


the  youthful  couple  are  trolling  out  their  song  to  the  accompani¬ 
ment  of  the  zither  is  hit  off  in  an  equally  fresh  and  expressive 
manner.  That  the  pretty  face  is  thereby  distorted,  or  that  the 
mouth  is  awry  and  the  hand  cramped  does  not  trouble  the  painter 
in  the  least;  he  means  to  present  the  situation  in  detail  and  with 
fidelity,  and  if  in  so  doing  the  expression  borders  on  caricature 
he  is  rather  pleased  than  not,  as  his  object  is  to  produce  a  humorous 
and  even  perhaps  a  satirical  effect.  This  endeavour  generally 
detracts  from  his  paintings  of  biblical  and  religious  subjects,  more 
than  one  of  which  seems  to  us  rather  like  a  parody  which  was  by 
no  means  the  artist’s  intention.  Occasionally  in  such  subjects  as 
in  the  “Grace  before  Meal,”  (No.  30),  in  spite  of  his  blunt 
characterization,  he  strikes  a  sentimental  and  even  fervent  chord. 
In  fact  this  extraordinarily  versatile  and  gifted  artist  knows  how 
to  produce  a  mystical  impression  in  a  most  original  manner,  as 
is  shown  by  the  large  picture  in  the  “Ryksmuseum”  of  Christ 
and  the  disciples  at  Emmaus. 

Two  works  of  this  master  are  not  only  excellently  painted  but 
also  especially  charming  and  original  by  reason  of  the  subjects. 
In  the  “Drawing  Lesson”  (No.  31)  the  versatile  but  unequal 
artist  is  as  rich  in  detail  and  careful  in  drawing  as  Gerard  Dou, 
as  free  and  picturesque  in  treatment  as  Adrian  Ostade,  as  fresh 
and  touching  as  Gabriel  Metsu  and  at  the  same  time  remains 
Jan  Steen.  How  busy  at  work  they  all  are!  the  music-teacher 
as  well  as  his  small  pupils,  in  whom  we  can  recognize  Jan  Steen’s 
own  children,  his  eldest  daughter  and  a  younger  son  whose  mother 
was  Goyen’s  daughter,  Margarethe.  All  the  numerous  drawing 
and  painting  materials  and  the  rich  furniture  of  the  room  are 
executed  with  the  greatest  precision  and  with  a  charming  piquancy. 

Very  different  is  “The  Siesta”  (No.  32);  here  everything 
breathes  repose  and  comfort.  On  the  veranda  from  which  we 
look  out  upon  the  landscape  the  master  of  the  house  is  buried 
in  his  books  after  the  meal,  the  remains  of  which  are  being  cleared 
away  by  the  maid,  while  the  daughter  has  fallen  asleep  by  the  side 
of  the  table.  The  impression  of  a  warm  sunshiny  afternoon  is 
grandly  portrayed  and  all  the  details  and  accessories  executed 
with  the  greatest  delicacy  and  precision. 

Religious  sensibility  is  but  seldom  found  even  in  Jan  Steen’s 
biblical  subjects:  in  every  one  of  the  little  genre  pictures  of  Nicolas 
Maes  there  is  far  more  real  religious  feeling,  although  they  show 
only  a^single  figure  or  at  most  but  a  few  in  simple  homely  style. 
This  is;  well  illustrated  by  the  characteristic  and  highly  superior 
picture fof  this  kind,  viz:  “A  girl  plucking  a  duck”  (No.  33). 
How  plainly  does  the  great  master  of  the  artist  speak  to  us  from 


17 


this  canvas:  the  way  in  which  the  light  falls,  the  chiaroscuro,  the 
vigorous  red  and  brown  tones  contrasted  with  a  deep  black  and 
dirty  white  betray  the  influence  of  Rembrandt  as  he  painted  about 
the  middle  of  the  century.  To  him  does  Maes,  far  and  away  the 
best  of  his  numerous  pupils,  owe  that  peculiarly  impressive  home¬ 
like  effect  which  ennobles  even  the  simplest  themes.  The  solemn, 
sometimes  even  melancholy  sensibility  which  speaks  to  us  from 
Maes’s  genre  pictures  is  changed  to  a  joyous  domestic  impression 
in  the  case  of  Pieter  de  Hooch  who  in  other  respects  much 
resembles  him.  With  the  latter  all  is  pure  sunshine;  the  bright 
sun  which  suffuses  his  impressionist  pictures  and  throws  its  warm 
beams  into  the  remotest  corners  of  his  interiors  produces  in  the 
spectator’s  heart  a  responsive  sunny  impression. 

An  illustration  of  this  is  to  be  found  in  the  three  pictures  of 
this  collection,  of  which  two  are  interiors.  The  first  shows  us  the 
home  of  a  well-to-do  Dutch  tradesman  or  savant  who  is  descending 
the  low  flight  of  steps  leading  to  his  study  to  the  hall  or  ante-room, 
in  the  foreground  of  which  the  wife  is  just  completing  her  little 
daughter’s  toilette  (No.  34).  The  picture  is  signed  in  full 
and  the  date,  1668  close  to  the  name,  shows  that  it  belongs  to 
the  artist’s  later  period,  when  the  sunny  effect,  lustrous  soft  colour¬ 
ing,  free  pastose  manner  more  and  more  gave  place  to  flat  and 
dull  treatment,  and  insipid  colouring.  This  picture  however 
displays  in  a  large  measure  the  delicacy  of  colouring  and  play  of 
light,  and  the  bold  drawing  of  his  best  works  which  were  executed 
about  ten  years  earlier. 

Nearly  equal  to  these  is  “The  young  Mother”  (No.  35) 
a  work  of  much  importance  and  which  adorned  the  choice  collec¬ 
tion  of  the  Due  de  Moray.  The  high  church  steeple  in  the  distance 
shows  that  it  was  executed  at  Delft  which  the  artist  must  have 
left  about  1665. 

The  third  and  smaller  picture  which  depicts  a  flower  garden 
in  front  of  a  plain  Dutch  country-house  (No.  36)  displays 
to  a  still  higher  degree  the  powerful  sun-light  effects  of  his  earlier 
works,  and  in  its  simple  impressionist  manner  reminds  us  of  the 
treatment  of  similar  subjects  by  Manet. 

In  connection  with  de  Hooch  we  may  here  mention  an  artist 
of  rare  ability  who  painted  similar  subjects;  viz:  Jan  Koedijck. 
His  “Mother  and  her  child  by  the  fireside”  (No.  37),  a 
particularly  good  example  of  this  artist,  stands  in  conception, 
arrangement  and  portraiture  between  Hooch,  and  N.  Maes  but  in 
delicacy  of  colouring  and  finesse  of  execution  it  cannot 
compare  with  these  painters. 


18 


The  de  Ridder  Collection  also  possesses  a  work  of  the  earliest 
Dutch  genre  painters  “A  Lady  at  the  Piano”  (No.  38), 
which  I  consider  a  thoroughly  characteristic  picture  of  Pieter 
Codde.  As  was  the  case  with  most  of  Codde’s  works,  at  one  time 
it  was  formerly  attributed  to  Palamedes;  but  the  clumsy  broad 
figure,  the  way  in  which  the  back  view  is  rendered,  the  drawing 
of  the  hand,  the  colouring  and  above  all  the  subject  and  composi¬ 
tion  are  absolutely  illustrative  of  Codde. 

The  best  work  of  P.  de  Hooch  was  produced  under  Rembrandt’s 
influence,  though  he  was  not  his  pupil.  The  same  may  be  said 
of  Adrian  van  Ostade  of  Haarlem  who  was  brought  up  in  the 
school  of  Frans  Hals.  It  is  not  to  his  figures,  which  are  usually 
of  the  same  type  as  those  of  Teniers,  but  to  his  chiaroscuro,  the 
effective  impression  produced  by  the  sun,  illumining  with  its  com¬ 
forting  rays  even  the  most  poverty  stricken  cottages  and  tumble- 
down  shanties,  that  the  artist  is  indebted  for  their  effect.  This 
applies  even  to  his  earliest  pictures,  portrayals  of  cottage  interiors 
with  their  inhabitants,  as  he  painted  them  during  half  a  century 
in  hundreds  of  pictures  over  and  over  again,  but  still  in  manifold 
variety  and  rich  artistic  evolution.  In  their  earliest  pictures 
however  of  the  beginning  of  the  thirties,  the  light  is  cold,  the  colour 
even  hard  and  the  figures  often  caricatures.  A  typical  picture  in 
this  style  full  of  rude  force  and  a  Frans  Hals  humour  is  that  of 
“Rollicking  peasants  in  a  cottage”  (No.  39).  In  the  power¬ 
ful  chiaroscuro  the  figures  appear  dull  but  the  whole  tone  is  cool. 
In  the  “Musician  by  the  side  of  a  cottage”  (No.  40),  which 
bears  the  date  1640,  the  artist  has  treated  the  same  subject  as  that 
of  a  larger  picture  with  very  slight  variation.  The  Berlin  Museum 
possesses  almost  the  same  composition  executed  in  the  same  year, 
and  a  still  larger  and  more  important  one  is  in  the  Wesendonk 
Collection  now  exhibited  in  the  Kaiser  Friedrich  Museum.  Besides 
these  I  know  about  half  a  dozen  others  differing  in  a  larger  or 
smaller  degree  from  one  another.  It  must  have  been  at  this  time 
that  Ostade  became  acquainted  if  not  with  Rembrandt  himself 
at  any  rate  with  his  work.  The  light  in  his  pictures  becomes 
more  concentrated  and  warmer,  the  chiaroscuro  carried  through 
more,  the  figures  display  more  power  of  observation  in  their  forms 
and  types,  and  the  local  colouring  with  its  brownish  tone  acquires 
a  certain  effectiveness.  About  1656,  i.  e.  ten  years  later,  a  similar 
but  smaller  picture  was  produced:  “Three  Peasants  drinking  and 
smoking  around  a  low  stool”  (No.  41),  a  masterpiece  the 
like  of  which  the  artist  did  not  often  paint.  We  see  here  how 
Holland  had  changed  in  a  short  time.  Instead  of  the  sty-like 
rooms  which  his  earlier  pictures  show  us,  we  see  that  neatness  and 


19 


a  certain  degree  of  comfort  have  found  their  way  into  these  cottages. 
The  occupants,  too,  are  no  longer  in  tattered  coats  and  trowsers 
but  are  evidently  prosperous  artisans  or  petty  tradesmen.  This 
impression  Ostade  has  hit  off  in  a  most  masterly  manner:  each 
of  the  three  young  fellows  displays  his  own  individuality,  and  the 
scene  is  a  perfectly  harmonious  one,  contentment  is  shown  in  every 
line,  and  the  effect  of  the  colouring,  especially  the  bluish  green 
tone  of  the  large  window,  the  bull’s  eye-panes  of  which  are  strongly 
coloured  by  the  clear  sky  and  green  trees,  produce  a  particularly 
deep  and  powerful  impression. 

A  later  work,  a  peasant  pulling  out  his  purse  (No.  42)  —  he  is 
paying  for  some  fruit  he  has  bought  at  a  stall — is  rather  a  study 
with  a  hastily  sketched  background. 

Adrian’s  brother  Isack  van  Ostade,  more  than  ten  years  his 
junior,  was  also  his  pupil  and  frequently  resembled  him  so  nearly 
that  the  pictures  of  the  one  are  often  mistaken  for  those  of  the 
other. 

Not  only  in  painting  interiors  as  he  did  in  his  early  years,  but 
even  in  his  rich  landscapes  Isack  took  his  elder  brother  as  his  model. 
As  however  Adrian  painted  such  landscapes  but  seldom,  they 
generally  pass  for  works  of  the  younger  artist,  even  when — as  for 
instance  the  excellent  picture  in  the  Holford  Collection  in  London 
—  they  bear  Adrian’s  signature  in  full.  Though  Isack  died  at  the 
age  of  twenty-eight,  nearly  two  hundred  pictures  of  his  have  been 
preserved,  and  his  chief  works  command  as  high  prices  as  the 
best  of  pictures  of  the  great  Dutch  Masters.  Nor  is  this  without 
justification,  for  though  he  is  extremely  unequal  and  his  earliest 
pictures  of  small  interiors  painted  when  he  was  between  eighteen 
and  twenty  years  of  age  are  superficial  and  inconsiderable,  the 
talent  displayed  in  his  later  pictures  after  he  had  arrived  at  manhood 
prove  that  he  was  really  more  gifted  than  his  brother.  His  early 
death  unfortunately  prevented  the  full  development  of  his  talents. 

The  de  Ridder  Collection  is  particularly  fortunate  in  possessing 
three  paintings  from  his  brush.  Among  them  is  one  depicting 
some  peasants  in  front  of  an  inn  on  the  high  road  (No.  43), 
which  must  have  been  produced  about  1645  and  strongly  resembles 
similar  contemporaneous  pictures  of  his  brother  in  the  types,  the 
warm  brownish  colouring  and  the  brilliant  tone.  In  treatment 
it  is  thinner  and  more  sketchy,  and  it  is  hastily  drawn. 

A  second  quite  small  picture  is  quite  a  curiosity,  and  yet  the 
artist  has  put  his  full  name  and  date  to  it.  He  painted  it  in  1648, 
one  year  before  his  death,  the  picture  of  a  horse,  a  heavy  piebald 
Walloon  cart-horse  in  the  foreground  of  a  landscape  (No.  44). 


Such  small  pictures  of  horses  were  especially  popular  at 
that  time;  by  Paul  Potter  we  have  quite  a  number  of  them;  Albert 
Cuijp  too,  Pieter  Verbeecq  and  others  occasionally  painted  them. 
As  far  as  I  know,  this  one  stands  alone  among  the  pictures  of 
Isack  Ostade.  I  should  like  here  to  refer  to  another  equally  un¬ 
usual  subject  for  this  painter  in  the  Bachofen-Bruckhardt  Collec¬ 
tion  in  Basle,  a  small  plain  landscape,  signed  in  full  and  dated 
1646,  a  distant  prospect  in  the  neighbourhood  of  Haarlem,  with 
slightly  broken  ground,  of  a  vigorous  green-brownish  prevailing 
tone  and  powerful  light  effects,  occupying  a  middle  position  perhaps 
between  Goijen’s  and  Rembrandt’s  earliest  landscapes.  The  de 
Ridder  Collection  can  boast  another  outstanding  picture  of  this 
artist,  one  of  his  winter-scenes:  a  canal  with  a  bridge  leading  to 
a  cottage,  the  frozen  surface  presenting  an  animated  scene  of  people 
and  sledges  (No.  45),  the  colour  laid  on  with  vigour  and 
somewhat  thickly,  the  tone  warm,  the  colouring  effective.  From 
the  excellent  drawing  we  may  conclude  that  it  was  painted  during 
the  artist’s  last  and  best  period. 

From  Isack  Ostade  is  an  easy  transition  to  the  landscapes 
proper  of  which  this  collection  can  show  a  goodly  number  by 
almost  all  the  chief  exponents.  By  Jan  van  Goijen  we  have 
a  picture  of  a  castle  on  a  broad  branch  of  a  river  with  boats  on  it 
(No.  46);  it  is  of  brilliant  light  blonde  tone  and  masterly 
drawing,  in  the  characteristic  manner  in  which  the  master  painted 
in  the  forties.  A  second  picture  shows  us  the  wide  debouche  of 
a  river  with  a  view  on  to  the  open  sea,  on  which  there  are  ships 
(No.  47).  The  composition  bold,  free  and  naive,  the  treat¬ 
ment  broad  and  full  of  genius,  the  local  colouring  almost  entirely 
absorbed  by  the  grey  prevailing  tone  which  reproduces  the  bright 
atmosphere  of  the  North  Sea  in  an  almost  modern  impressionist 
manner:  all  these  qualities  characterize  the  picture  as  a  master¬ 
piece  of  the  artist’s  latest  period.  As  a  matter  of  fact  it  bears 
the  date  of  1665,  the  year  before  he  died. 

Albert  Cuijp  is  so  akin  to  Jan  van  Goijen  in  his  earliest 
pictures  which  he  painted  between  the  age  of  twenty  and  thirty 
that  even  at  the  present  time  his  landscapes  pass  under  the  name 
of  Goijen.  A  characteristic  picture  in  this  style,  which  illustrates 
the  affinity  to  Goijen’s  landscapes  and  at  the  same  time  their 
dissimilarity,  is  in  this  collection.  The  subjects  of  both  artists 
are  almost  precisely  the  same  simple  prospects  of  their  native 
Holland;  both  disdain  to  employ  local  colouring  and  make  the 
subjects  fade  away  in  light,  lustrous  but  indistinct  air-tones.  But 
Albert  Cuijp  is  still  more  artless  in  the  construction  of  his  land¬ 
scapes,  his  tone  is  lighter  and  clearer,  his  colour,  a  whitish  yellow, 


21 


is  laid  on  thicker,  rather  dabbed  than  in  the  dashing  sweep  of 
Goijen.  But  with  all  their  simplicity  and  sketchiness  which  char¬ 
acterize  these  for  the  most  part  little  landscapes  —  impressions 
caught  in  a  few  hours  —  they  yet  show  the  great  master  of  land¬ 
scapes  bathed  in  full  sunshine,  who  even  in  those  early  years 
pursued  his  aim  with  a  full  consciousness  of  what  he  wished  to 
accomplish;  and  occasionally  we  find  in  these  pictures  delicate 
touches  which  remind  us  of  his  grandest  period.  See  for  instance 
in  the  picture, before  us  the  manner  in  which  distant  water  is  treated 
(No.  48).  Such  pictures  as  this  appear  fresher  and  more 
naive  than  his  later  landscapes  with  horsemen.  A  capital  eques¬ 
trian  picture  of  his  later  period  is  “Starting  for  a  ride”  (No. 
49),  and  which  no  doubt  owed  its  origin  to  the  wish  of  a  squire 
from  the  neighbourhood  of  Dordrecht,  perhaps  a  neighbour  and 
acquaintance  of  the  artist,  to  have  his  horses  and  dogs  painted  by 
him.  The  picture  is  remarkable  for  the  freshness  and  vigour  of 
the  colouring,  which  the  excellent  state  of  preservation  fully  brings 
out.  The  “Two  horsemen  at  the  Sign  of  the  Cock”  by  Albert 
Cuijp  (No.  50),  from  the  collection  of  Moritz  Kann,  which 
was  especially  rich  in  this  artist’s  works,  is  remarkable  for  the 
ambient  sunshine  which  is  spread  over  the  landscape,  the  delicate 
gradation  of  colours,  in  the  golden  atmospheric  tone  and  combining 
breadth  of  brush  with  exceptionally  good  draughtsmanship.  The 
picture  may  be  dated  about  the  year  1665,  during  the  artist’s 
middle  period. 

Highly  piquant  with  its  vivid  golden  tone  is  the  “Landscape 
with  a  horseman”  (No.  51),  in  which  the  horseman  is  talking 
to  some  herdsmen  on  the  road,  while  in  the  distance  are  extensive 
ruins;  probably  painted  but  a  short  time  earlier  than  the  fore¬ 
going  picture. 

Almost  pendants  to  these  two  works  of  van  Goijen  are  two 
landscapes  of  his  kinsman  and  contemporary  Salomon  van  Ruijs- 
dael.  One  of  these,  apparently  a  work  executed  in  the  fifties, 
shows  a  farm  in  the  midst  of  trees  with  a  herd  of  cows  in  the  water 
on  the  bank  and  in  the  foreground  (No.  52). 

While  the  foreground  has  been  made  darker,  the  distant  water 
in  the  hazy  atmosphere  is  most  delicately  and  effectively  treated. 
More  vigorous  and  illustrative  of  the  darker  tone  of  the  artist’s 
later  years  is  the  “Town  on  the  banks  of  a  river”  (No.  53) 
which,  with  its  deep,  highly  toned  and  yet  brilliant  effectiveness, 
closely  resembles  the  two  similar  river  landscapes  from  the  Rudolph 
Kann  Collection,  one  of  which  is  now  in  the  collection  of  M. 
Bromberg  in  Hamburg. 

In  the  four  pictures  of  Salomon’s  distinguished  nephew  Jacob 


22 


van  Ruisdael  all  the  various  styles  of  this  painter  are  character¬ 
istically  displayed.  The  “Old  beeches  by  the  side  of  a  marsh” 
(No.  54),  in  the  distance  a  woody  hill,  is  a  fairly  early  work 
of  the  artist  and  was  executed  in  Haarlem  between  1655  and  1658. 
Simple  scenes  from  North  Holland  or  the  province  of  Cleves,  por¬ 
trayed  with  simple  appreciation  of  nature,  and  yet  developed  into 
such  a  perfectly  rounded  off  composition,  and  made  most  impressive 
by  its  powerful  light  effects.  The  subject  reminds  us  strongly  of 
the  well  known,  large  sized  picture  entitled  “The  Oak-forest”  in 
the  Berlin  Gallery,  but  is  several  years  earlier  in  point  of  date. 
Not  much  later  was  painted  the  fine  picture  “A  Road  leading  to 
a  village”  (No.  55),  in  which  the  artist,  by  the  grand  manner 
in  which  the  deep  shadows  spread  over  the  landscape  and  contrast 
with  the  bright  clouds,  has  conveyed  a  peculiar  impressive  charm 
which  is  wholly  his  own.  Everything  is  so  skilfully  arranged  that 
the  artificial  composition  does  not  in  the  least  strike  the  spectator. 

To  Ruisdael’s  best  and  most  effective  pictures  belong  his  distant 
prospects,  nearly  all  of  which  were  executed  during  his  middle 
period  viz.  about  1660.  From  an  eminence,  generally  from  the 
sandhills  in  the  neighbourhood  of  Haarlem,  we  gaze  into  the  far 
country.  All  these  pictures  are  of  fairly  small,  and  generally  very 
small  size  and  yet  most  effective.  The  charm  of  the  light,  the 
impression  produced  by  the  alternating  of  light  and  shade,  the 
sky  arched  high  over  the  landscape  and  the  atmosphere  which 
pervades  it  is  more  truthfully  and  poetically  rendered  in  these 
pictures  than  by  any  other  painter.  The  “Bleaching  Ground” 
near  Haarlem,  with  the  Egmont  ruins  in  the  background 
(No.  56),  is  a  characteristic  example,  the  exceptionally  long  shadows 
thrown  by  the  piled-up  clouds  over  the  landscape  producing  an 
extraordinary  powerful  effect. 

The  small  picture  by  Jacob  Ruisdael  acquired  from  the  Moritz 
Kann  Collection,  “A  View  of  the  Dunes  looking  out  on  the  sea” 
(No.  57),  is  also  a  work  of  the  very  first  rank,  the  simple 
subject  and  colouring  of  which  are  highly  impressive.  The  gloomy, 
almost  monochromic  tone,  the  cold  grey  colouring  of  clouds,  sea 
and  sand-hills  of  the  dreary  landscape  remind  us  more  impressively 
of  Ruisdael  than  the  pictures  of  any  other  landscape  painter. 

Every  year  about  a  dozen  or  more  of  Jacob  Ruisdael’s  pictures 
are  offered  for  sale,  for  the  number  of  his  works,  the  majority  of 
which  are  in  private  hands,  is  very  large.  On  the  other  hand 
those  of  his  younger  contemporary  and  pupil  Meindert  Hobbema 
have,  since  the  middle  of  last  century,  precisely  because  they  are 
far  less  numerous  (about  a  fourth  as  many  as  Ruisdael’s),  rarely 
come  into  the  market  and  on  that  account  are  much  sought  after. 


23 


In  fact  his  masterpieces  are  now-a-days  absolutely  unprocurable, 
and  even  less  important  pictures  of  his  short  prime  are  but  seldom 
in  the  market.  The  pictures  which  we  meet  with  are  those  peculiar 
youthful  productions,  the  investigation  of  which  is  by  no  means 
complete,  and  isolated  presumably  later  works  about  which  we 
are  equally  in  the  dark.  In  1663,  at  the  age  of  twenty-five,  Hob¬ 
bema  was  admitted  a  Master  of  the  Guild  of  St.  Luke  in  Amsterdam; 
ten  years  later  he  had  the  “good  fortune”  to  wed  the  Amsterdam 
Burgomaster’s  cook  and  through  her  mediation  to  obtain  a  minor 
post  in  the  Excise  Office;  from  this  time  until  his  death  in  1709 
dated  pictures  from  his  brush  are  almost  entirely  wanting,  so  that 
we  may  pretty  confidently  conclude  that  the  lucky  exciseman 
gradually  neglected  the  unprofitable  profession  of  a  painter.  From 
various  masterpieces  however,  which  bear  the  date  of  his  admission 
to  the  guild  and  even  earlier,  we  may  assume  with  certainty  that 
he  must  have  painted  for  some  considerable  time  before  attaining 
this  position.  We  shall  also  be  justified  in  attempting  to  identify 
among  his  works  such  as  were  painted  after  his  marriage,  for  it  is 
hardly  credible  that  so  extraordinarily  talented  an  artist  should 
have  ceased  entirely  to  paint  because  he  had  become  independent 
of  his  profession  through  the  petty  post  above  mentioned. 

The  pictures  of  Hobbema  in  this  collection  afford  interesting 
indication  in  both  these  directions.  By  comparing  the  “Peasant’s 
farmyard  behind  a  canal”  (No.  58)  with  the  signed  pictures 
of  1659  in  the  Museum  of  Grenoble  and  in  the  Edinburgh  Gallery, 
we  must  pronounce  it  to  be  a  youthful  production  of  about  1660. 
The  resemblance  between  him  and  the  earlier  painters  in  the 
style  of  Ruisdael,  R.  de  Vries,  J.  v.  Rombouts,  etc.  is  so  great 
that  they  may  be  easily  taken  for  one  another;  but  the  light  effect, 
especially  through  the  coloured  reflection  in  the  water,  is  stronger, 
the  local  colouring  more  vigorous  and  the  pigment  laid  on  more 
thickly.  Widely  divergent  from  this  youthful  work  is  the  small 
landscape  “A  road  under  some  trees”  (No.  59).  Here  too 
the  colours  are  laid  on  thickly  and  broadly,  but  the  foliage  is  denser, 
the  composition  more  compact,  the  treatment  more  superficial  and 
less  engaging,  and  the  colouring  duller.  The  deviations  from  the 
earlier  works,  as  also  from  the  more  typical  pictures  of  the  artist 
in  the  sixties  as  well  as  their  disparity,  lead  to  the  assumption  that 
we  have  to  deal  with  a  work  of  his  later  years.  A  short  time  ago, 
Herr  de  Ridder  came  into  the  possession  of  a  picture  of  Hobbema’s 
maturest  period,  a  masterpiece  with  which  few  can  compare,  and 
formerly  a  companion  picture  to  the  celebrated  “Mill”  in  the 
Louvre  to  which  it  is  not  inferior  in  excellence.  The  subject  is  a 
similar  one:  among  some  isolated  tall  trees,  through  which  a  road 


24 


leads  to  a  village,  are  situated  some  cottages,  the  red  roofs  of 
which  contrast  strongly  with  the  pastose  brownish-green  of  the 
foliage.  The  genial  sunbeams  are  breaking  through  the  trees  and 
diffuse  their  light  over  the  landscape  (No.  60).  They  lend 
the  simple  scene,  which  is  taken  from  the  environs  of  Amsterdam, 
and  which  is  rendered  with  surprising  power,  freshness  and  fidelity, 
an  unwonted  poetic  charm. 

Entirely  different  from  Hobbema  is  Aart  van  der  Neer,  an 
artist  in  a  class  by  himself,  one  who  appeals  to  the  impressions 
such  as  few  do  among  Dutch  painters,  and  precisely  on  that 
account  less  appreciated  by  his  contemporary  countrymen  than 
the  realist  Hobbema,  whose  fate  he  shared  in  having  to  eke  out  a 
scanty  livelihood  by  a  miserable  by-occupation  (he  kept  a  low- 
class  public-house).  He  is  most  remarkable  for  his  light  effects, 
moonlight  scenes  and  other  night-pieces,  lit  up  by  fires,  evening 
views  or  bright  winter  scenes.  This  collection  contains  two  excel¬ 
lent  and  characteristic  pictures  of  his;  bright  and  highly  coloured 
and  in  a  capital  state  of  preservation:  “A  Hamlet  on  a  Canal,  in 
the  evening  glow”  (No.  61),  and  “Amusements  on  the  ice 
on  a  frozen  branch  of  a  river  in  the  suburbs  of  Amsterdam” 
(No.  62).  They  are  similar  in  composition:  the  mass  of 
water  lost  in  the  distance,  the  animation  on  both  banks,  the  bright 
sky  shedding  its  light  on  the  water  or  the  ice-surface  and  illumining 
the  darkest  shadows;  both  pictures  are  small,  and  lightly  and  even 
sketchily  treated,  but  with  a  master’s  genius:  they  belong  to  his 
earlier  and  best  period. 

How  variously  the  same  simple  Dutch  landscape  scenes  are  con¬ 
ceived  and  rendered  by  different  artists  is  illustrated  by  com¬ 
paring  Aart  van  der  Neer’s  winter-landscapes  with  those  of  Jan 
van  de  Cappelle,  and  an  opportunity  of  doing  so  is  afforded  by  a 
picture  in  this  collection  (No.  63).  Whereas  the  former  is 
richer  and  more  delicate  in  the  construction  of  his  landscape  than 
in  the  light-portrayal,  the  effect  of  the  latter  is  produced  by 
greater  simplicity,  vigour  and  fidelity.  Although  he  painted  only 
in  his  leisure  hours,  and  so  to  speak  as  a  pastime  —  he  owned  and 
managed  the  largest  dye-works  in  Amsterdam  and  was  one  of  its 
richest  citizens  —  his  pictures  do  not  bear  the  slightest  trace  of 
the  amateur,  but  show  as  much  originality,  freshness,  and  fidelity 
of  conception  and  freedom  and  effectiveness  in  execution  as  those 
of  the  professed  artist.  His  sunny,  as  a  rule,  richly  enlivened  sea- 
pieces,  appeal  to  our  modern  taste,  through  their  picturesque 
effectiveness  far  more  than  those  of  the  most  celebrated  marine- 
painter  of  his  time  Willem  van  de  Velde,  for  whom  until  a  few 
decades  ago  Van  de  Cappelle’s  pictures  were  almost  entirely 


25 


neglected  and  forgotten.  The  unusually  hard  or  restless  colouring, 
and  the  rather  jejune  treatment  of  W.  van  de  Velde’s  later  style 
make  us  too  apt  to  forget  that  in  his  earlier  sea-pieces,  especially 
in  the  simple  portrayal  of  a  calm  sea  with  solitary  ships  and  boats 
in  a  bright  warm  sunshine  and  in  his  few  coast-scenes,  he  has  given 
us  landscapes  of  a  fidelity  and  effective  delicacy  which  may  com¬ 
pare  with  the  highest  efforts  of  the  best  time  of  Dutch  landscape 
painting.  To  these  belong  the  two  pictures  in  this  collection,  “A 
calm  Sea  on  the  flats”  (No.  64),  a  light  toned  work  full  of 
effect  and  bright  character,  and  especially  the  one  with  two  large 
boats  in  the  fulness  of  sunlight  (No.  65). 

In  the  depiction  of  animated  Dutch  landscapes,  as  the  last 
named  artists  painted  them,  the  most  capable  and  versatile  master 
is  Philips  Wouwermans.  Like  W.  van  de  Velde  this  artist  is 
no  longer  affected;  for  the  modern  taste  he  is  too  obvious  in  his 
intended  effects,  too  studied  in  his  subjects,  too  sketchily  narrative, 
too  rich  and  full  in  composition,  and  in  colouring  often  too  dark 
and  restless.  It  must  be  admitted  that  many  of  his  pictures, 
especially  of  his  later  ones,  exhibit  these  defects  to  a  greater  or 
lesser  degree:  at  the  same  time  we  possess  a  large  number  which 
are  not  open  to  this  reproach,  and  which  are  so  picturesquely  con¬ 
ceived,  so  admirably  executed,  and  which  depict  Holland  and  Dutch 
life  at  the  time  of  the  Thirty  Years’  War  with  such  variety  and 
vivacity  as  no  other  painter  has  even  attempted  to  do.  Few 
pictures  show  what  Wouwermans  could  produce  in  his  best  moments 
as  fully  as  “The  Ford”  (No.  66),  one  of  his  greatest  works 
both  literally  and  figuratively.  The  picture  is  essentially  a  land¬ 
scape,  for  the  few  small  figures,  which  by  the  way  are  excellently 
drawn,  are  merely  inserted  to  give  animation  and  as  bits  of  colour¬ 
ing.  True  the  landscape  is  rich,  nay,  exceedingly  rich  in  subjects, 
and  highly  animated,  and  —  if  this  be  a  reproach  —  it  must  be 
admitted  that  the  foreground  is  taken  from  the  dunes  of  Holland 
and  the  undulations  from  central  Germany,  but  precisely  in  this 
peculiarity  lies  the  artist’s  strength.  The  numerous,  often  divergent 
subjects,  while  carrying  out  the  details  with  a  charming  fidelity, 
he  manages  to  weld  into  a  harmonious  whole,  to  impart  a  unity 
to  the  numerous  and  restless  lines,  to  mass  the  rich  colour,  to 
insert  the  ornamental  figures  for  the  animation  of  the  landscape 
in  the  most  skilful  and  convincing  manner,  and  thus  create  a 
very  extraordinary  but  thoroughly  plausible  impression.  In  the 
picture  before  us  the  artist  has  been  particularly  successful  in 
doing  this;  seldom  is  the  construction  so  grand  or  the  colouring 
and  light-treatment  so  vigorous  and  effective  as  in  this  work. 

In  strong  contrast  to  Wouwermans  is  the  treatment  of  similar 


26 


subjects  by  his  countryman  Adrian  van  de  Velde,  junior  to  him 
but  by  few  years.  In  place  of  the  former’s  richness  and  animation 
of  portraiture,  of  his  varied  construction  and  effects,  here  reign 
simplicity  and  repose,  for  dramatic  point  and  narration  the  mood 
of  every  day  life.  This  is  exemplified  by  the  “Riding  Party” 
(No.  67),  which  the  artist,  as  in  many  cases,  painted  in  con¬ 
junction  with  his  coetaneous  friend  Jan  van  der  Heyden,  and 
in  which  Adrian  has  depicted  views  of  small  Dutch  country-houses 
with  portraits  of  the  owners.  The  precise  execution,  the  joyous 
sun-light  effect  and  the  gay  colours  impart  a  cheerful  character  to 
the  picture.  From  the  costumes,  it  must  have  been  painted 
shortly  before  the  decease  of  Adrian  at  the  age  of  thirty-five. 

The  Road  by  the  side  of  a  wood  by  Jan  Wynants  (No. 
68),  and  a  few  pedestrians  which  were  added  by  Jan  Lingelbach, 
is  a  subject  which  well  suited  the  artist,  and  is  in  the  form  to 
which  he  was  best  able  to  do  justice. 

A  valuable  acquisition  made  the  year  before  the  collector’s 
death  is  a  picture  by  Paulus  Potter  with  some  cattle  in  the 
foreground  of  a  richly  wooded  landscape  (No.  69),  and  is 
of  special  interest  through  the  date  which  it  bears  of  1640,  showing 
as  it  does  the  precocious  talent  of  the  artist,  who  was  then  only 
fourteen  years  of  age. 

There  are  only  two  pictures  of  Still-life  in  this  collection;  but 
they  are  both  masterpieces  of  the  two  greatest  still-life  artists, 
viz:  “The  Dessert”  by  Abraham  van  Beijeren  (No.  70), 
and  a  similar  subject  by  Willem  Kalf  (No.  71).  The 
pictures  of  both  these  artists  are  remarkable  for  their  delicate 
chiaroscuro,  but  whereas  Beijeren  makes  his  composition  melt 
away  into  a  warm  brownish  tone,  Kalf  employs  vigorous  local 
colouring,  the  brilliant  hues  of  which  combine  with  most  delicate 
harmony,  so  that  the  effect  is  both  varied  and  consistent.  Both 
are  unsurpassed  in  depiction  of  the  subject  and  in  masterly 
treatment. 


27 


X)NGSIDE  the  Dutch  paintings,  this  collection 
can  show  a  small  number  of  Flemish  pictures, 
which  fit  in  excellently  with  the  former  in  point 
of  style  and  quality. 

Bearing  Rubens’s  name  is  a  very  graceful 
“Female  Portrait”  (No.  72)  of  which  there 
are  several  replicas.  The  sitter  was  nearly  related  to  the  artist, 
but  certainly  neither  his  second  wife  Helene  Fourment  nor  yet 
his  first,  Isabella  Brant,  as  these  portraits  are  variously  designated. 
The  features  are  very  different  from  those  of  Isabella  with  her 
pronounced  oval  face,  the  eyes  somewhat  awry  and  the  corners 
of  the  mouth  turned  slightly  upwards.  They  resemble  more  the 
feature  of  his  second  wife,  but  as  they  differ  in  expression  and 
other  particulars  they  are  probably  those  of  one  of  Helene’s  sisters. 

A  forcible  example  of  Rubens’s  powerful  and  vigorous  style  is 
afforded  by  the  bust-length  picture  of  the  painter  Frans  Francken 
(No.  73),  an  old  friend  of  the  artist  whom  Van  Dyck  has 
sketched  in  his  “  Ikonographie.”  In  conception  and  drawing  it 
is  of  a  simplicity  and  freshness  not  often  found  in  Rubens’s  por¬ 
traits.  The  powerful  colouring  is  of  a  masterly  style,  as  a  rule 
carefully  carried  through,  and  in  spite  of  precision  bold  and  broad. 

A  second  portrait  of  the  great  Flemish  Master  and,  as  the 
first,  acquired  from  the  King  of  the  Belgians,  is  of  equal  significance 
in  its  way  though  but  a  sketch.  It  is  the  design  for  an  altar-piece 
(No.  74),  with  which  at  the  same  time  the  artist  has  sketched 
a  rich  baroque  frame.  The  religious  theme :  Christ  with  the  banner 
of  victory  over  death  and  sin,  crowned  by  angels,  with  two  prophets 
and  saints  on  either  side,  is  in  true  Rubens  style,  a  highly  dramatic 
composition,  acquiring  from  its  rich  colours  and  light  blonde  tone 
a  powerful  and  harmonious  unity.  From  the  colouring  and  treat¬ 
ment  we  may  assign  the  picture  to  about  1618,  the  date  of 
Francken’s  portrait. 

There  is  still  another  work  of  Rubens  in  this  collection  such 
as  is  rarely  found  in  private  hands,  a  landscape  (No.  75). 
The  subject  is  one  of  extraordinary  simplicity:  On  gently  undulat¬ 
ing  ground  a  few  groups  of  trees,  in  the  foreground  on  a  bad  road 
is  a  cart;  everything  bathed  in  the  glow  of  the  setting  sun  and 
most  thrillingly  effective  in  its  magnificent  colouring.  One  of  those 


28 


exquisite  improvisations  such  as  the  ailing  master  executed  as  a 
labour  of  love  on  his  Steen  property  in  his  last  declining  years. 

One  of  several  pictures  by  Anthony  van  Dyck  is  the  portrait 
of  Ferdinand  de  Boischot,  Baron  of  Saventhem  (No.  76),  a 
masterpiece  of  delineation  of  character  and  not  less  remarkable 
for  its  effective  colouring.  The  stern  severe  features  add  to  the 
distinguished  effect  of  this  picture,  which  was  executed  at  Antwerp 
in  1630.  Especially  attractive  by  the  fascinatingly  masterly  exe¬ 
cution  and  the  rich  and  yet  delicately  graded  colouring  is  the 
“Martyrdom  of  St.  Sebastian”  (No.  77),  a  sketch  for  the 
well-known  picture  in  the  Munich  Pinacothek  painted  by  Van 
Dyck  when  he  was  a  young  assistant  in  Rubens’s  studio. 

Van  Dyck  had  a  large  number  of  pupils  and  assistants:  in  fact 
all  schools  of  portrait  painting  and  even  the  rococo  schools  were 
under  his  influence.  One  of  his  younger  countrymen,  Gonsales 
Cocx  was  even  called  by  his  contemporaries  “Van  Dyck  the  Less,” 
though  he  was  not  one  of  his  pupils,  for  Van  Dyck  had  emigrated 
to  England  when  Gonsales  was  but  fourteen  years  of  age.  His 
portraits,  too,  in  contrast  with  the  decorative  and  comprehensive 
portraits  of  Van  Dyck  the  Great,  are  all  of  small  size  and  executed 
almost  as  are  miniatures:  such  a  dignity  however  attaches  to 
these  tiny  portraits,  and  such  a  delicacy  of  treatment,  that  they 
really  look  like  Van  Dyks  in  miniature.  This  collection  contains 
two  important  pictures,  of  which  the  larger  was  one  of  his  best  known 
works  when  it  was  in  the  celebrated  Manfrin  Gallery  in  Venice. 
On  a  terrace  four  young  married  couples  are  grouped  rather  closely 
around  the  father  and  mother,  who  are  sitting  in  the  centre 
(No.  78).  The  sitters  probably  belong  to  the  wealthy  Antwerp 
merchant  class,  only  one  of  the  sons-in-law  is  a  nobleman,  a 
“cavalier,”  as  is  indicated  by  his  sword  and  the  steed  behind  him, 
which  a  Moor  is  holding  by  the  bridle.  The  artist  appears  to  have 
been  connected  with  the  family,  as  he  has  painted  himself  standing 
in  the  background,  which  is  probably  not  found  in  any  of  his  other 
fairly  numerous  groups. 

The  second  picture  shows  a  similar  arrangement:  a  young 
married  couple  is  standing  in  front  on  a  terrace  with  two  girls 
on  either  side,  of  whom  the  elder  (probably  a  sister  of  the  young 
wife)  is  playing  the  lute  (No.  79).  This  picture,  too,  is 
remarkable  for  the  fresh  bright  colouring,  the  light  picturesque 
treatment  and  simple  charming  characterization. 

A  small  half-length  portrait  of  a  comely  young  man  with  long 
fair  hair,  an  officer  (No.  80)  whose  taste  for  music  is  attested 
by  a  guitar  on  which  he  is  resting  his  left  hand,  was  purchased 
by  Herr  de  Ridder  as  a  Terborch,  with  whose  portraits  however 


29 


it  bears  but  a  distant  resemblance.  It  seems  to  me  rather  to 
betray  strongly  the  influence  of  Gonsales  Coex  and  I  am  inclined 
to  assign  it  to  Biset,  an  excellent  painter  of  the  school  of  Coex 
under  whose  influence  he  probably  came  during  his  sojourn  in 
Antwerp. 

Of  Belgium’s  most  highly  extolled  genre  painter,  David  Teniers, 
the  de  Bidder  Collection  contains  five  characteristic  pictures,  all 
of  which  are  remarkable  for  their  bright  colouring  and  excellent 
state  of  preservation.  One  of  them  depicts  “A  Merry  Party” 
(No.  81),  a  subject  frequently  dealt  with  by  the  artist,  full 
of  genius  and  dashing  treatment,  the  rich  colouring  being  especially 
delicate.  The  types  do  not  show  any  particular  individuality. 
The  influence  of  Brouwer,  which  even  long  after  his  death  had 
been  so  beneficial,  is  here  hardly  traceable.  From  these  and  other 
signs,  viz:  the  light  rich  colouring,  the  picture  must  have  been  ex¬ 
ecuted  soon  after  the  middle  of  the  century.  Between  about  five 
and  ten  years  later  two  other  of  this  artist’s  pictures  in  this  collec¬ 
tion  were  produced,  both  of  them  rather  plain  interiors.  The  young 
man  who  is  regaling  himself  with  a  glass  of  wine  (No.  82)  is  no 
doubt  one  of  a  series  of  the  five  senses  which  Teniers  painted  a 
number  of  times  and  with  not  much  variation,  and  would  then 
be  designated  as  “Tasting.”  Here  the  young  fellow,  from  his 
costume  a  servant  in  an  opulent  family,  as  well  as  the  old  woman 
who  is  waiting  on  him  are  delineated  with  extraordinary  indi¬ 
viduality,  whilst  the  third  picture  (No.  83),  which  is  akin 
to  it  in  construction  and  composition  (it  bears  the  date  1660), 
shows  a  young  peasant  couple  of  true  Teniers  type  but  kindlier 
and  more  agreeable  than  we  are  accustomed  to  find.  This  picture, 
too,  possesses  the  same  meritorious  features  in  the  rich  bright 
colours  and  the  delicate  blonde  tones. 

The  fourth  picture  exhibits  the  artist  in  a  style  peculiar  to 
himself  and  for  which  he  was  especially  celebrated.  An  aristo¬ 
cratic  looking  man  in  his  picture  gallery  is  inspecting  a  picture 
which  the  young  artist  is  showing  him.  From  the  resemblance  of 
the  boy  who  is  holding  the  picture  we  may  suppose  him  to  be  one 
of  the  painter’s  brothers  (No.  84).  The  walls  are  literally 
covered  with  pictures  from  the  floor  to  the  ceiling;  on  the  ground 
is  a  globe  and  books  scattered  about,  with  shells,  corals,  etc,,  on  the 
cabinet  such  as  one  always  sees  in  collections  of  curios.  In  a 
dashing  sketchy  manner  Teniers  has  drawn  all  the  pictures  so 
characteristically  that  we  did  not  need  the  tiny  inscription  to 
recognize  them  as  works  of  his  Antwerp  contemporaries:  Arthois, 
Artvelt,  Franeken,  Momper,  etc.  In  a  similar  way  he  has  given 
us  the  celebrated  Gallery  of  the  Archduke  Leopold  Wilhelm  in  a 


30 


whole  series  of  interiors,  which,  as  is  well  known,  he  copied  in 
small  size  for  their  reproduction  as  engravings. 

The  “Small  Landscape”  (No.  85)  is  a  delicately  toned 
landscape  dashed  off  in  an  impromptu  manner. 

In  conclusion  I  would  mention  that  this  collection  possesses  a 
small  but  good  and  characteristic  picture  by  “The  Master  of  the 
half-length  female  figures,”  representing,  as  usual,  St.  Mary 
Magdalene. 

By  the  wish  of  Herr  de  Ridder  it  has  not  been  included  in 
this  publication,  inasmuch  as,  being  a  work  of  the  early  part  of 
the  XVI.  Century  it  did  not  seem  to  be  in  place  in  a  collection 
consisting  exclusively  of  XVII.  Century  works. 


31 


No.  1 

REMBRANDT  HARMENSZ  VAN  RIJN 

Dutch  School.  Born  at  Leyden  July  15th  1606,  buried  in  Am¬ 
sterdam  October  8th  1669.  Painted  in  Leyden  and  Amsterdam. 

Portrait  of  a  Man ,  a  member  of  the  Raman  family 

On  oak.  Height,  67;  width,  52 

Turned  towards  the  right,  looking  in  front  of  him.  In 
black  coat  and  large  slouch  hat,  on  a  bright-toned  ground. 
The  dark-blonde  beard  is  in  effective  contrast  with  the  white 
collar. 

Life-size,  Bust-length  without  hands. 

Signed  on  the  right  above  the  shoulder : 

“Rembrandt  ft.  16^4.” 


32 


REMBRANDT  HARMENSZ  VAN  RIJN 


No.  2 

REMBRANDT  HARMENSZ  VAN  RIJN 

Dutch  School.  Born  at  Leyden  July  15th  1606,  buried  in  Am¬ 
sterdam  October  8th  1669.  Painted  in  Leyden  and  Amsterdam. 

Flora 

On  oak.  Height,  65;  width,  51 

Sitting,  slightly  inclined  towards  the  left,  she  is  holding  a 
flower  in  her  left  hand  and  looking  thoughtfully  in  front  of 
her.  In  a  bright  coloured  dress  cut  rather  low  at  the  neck, 
and  with  veil  and  flowers  in  her  curly  hair.  Dark  back¬ 
ground. 

Full  size.  Half  length.  Oval. 

The  sitter  for  this  and  other  Flora  'pictures  of  this  period  was  undoubtedly  his  wife  Saskia 
van  Uylenburgh. 

Collection:  Vicomte  de  Fonspertuis,  Paris  171fl .  Blondel  de  Gagny,  Paris  1777. 

Sir  Ch.  Robinson,  London,  Ad.  Schloss,  Paris 
Exhibited  in  Amsterdam  1898 

See  Bode’s  Rembrandt  III  No.  190  Smith’s  Catalogue  rais,  VII  No.  508 


No.  3 

REMBRANDT  HARMENSZ  VAN  RIJN 

Dutch  School.  Born  at  Leyden  July  15th  1606,  buried  in  Am¬ 
sterdam  October  8th  1669.  Painted  in  Leyden  and  Amsterdam. 

A  Girl  at  a  Window 

On  canvas.  Height,  85;  width,  71 

A  young  girl  is  looking  out  of  an  open  window.  She  is 
holding  the  curtain  back  with  her  right  hand  and,  resting 
on  her  left,  is  laughing  roguishly.  With  a  dull  red  cap  and 
reddish  brown  dress  cut  low  to  the  bosom  showing  chemisette 
to  the  neck.  A  massive  twisted  gold  chain  hangs  from  her 
neck  and  shoulders. 

Full  size.  Half-length. 

Signed:  Rembrandt  1654. 

Exhibited:  British  Gallery,  London,  1831 

Collections:  Sir  Mathew  White  Ridley,  London  Lord  Ridley,  London 

See  Bode’s  Rembrandt,  No.  339,  and  Smith’s  Catalogue  rais,  VII  No.  51^9  Vosmaer  p.  538 


33 


No.  4 

FRANS  HALS  THE  ELDER 

Dutch  School.  Born  at  Antwerp  1580  or  1584,  died  at  Haarlem 
August  29th  1666.  Painted  in  Haarlem  and  occasionally  in  Amsterdam 

Portrait  of  a  young  Woman 

On  canvas.  Height,  109,5  width,  81,5 

Standing  and  turned  slightly  towards  the  left,  she  is  looking 
at  the  spectator  with  a  calm  benignity.  She  wears  lace  cuffs, 
large  Spanish  ruff,  pearl  necklace  and  bracelets  and  a  wide 
lace  cap  in  her  thick  hair.  In  her  right  hand  she  carries 
long  gloves. 

Life  size.  Three-quarter  length. 

Signed  above  on  the  left:  “.ETA  SV.E  28” 

A  No.  1634 

From  the  Collection  of  Graf  Mniszech,  Paris 
W.  Bode  “Studies  in  Dutch  Painting ”,  Page  84 
L.  Moes  “Frans  Hals ”,  No.  187. 


34 


FRANS  HALS  d.  A 


No.  5 


FRANS  HALS  THE  ELDER 

Dutch  School.  Born  at  Antwerp  1580  or  1584,  died  at  Haarlem 
August  29th  1666.  Painted  in  Haarlem  and  occasionally  in  Amsterdam. 

Portrait  of  Sara  Andriesdr,  wife  of  the  Pastor  Michiel 

Middelhoven 

On  canvas.  Height,  68;  width,  69 

Almost  full  face  and  looking  straight  in  front  of  her,  sitting 
in  an  armchair,  with  a  prayer  book  in  her  left  hand  while 
her  right  crosses  her  bosom,  wearing  a  black  dress  with 
Spanish  ruff  and  a  white  hood. 

Life  size.  Three-quarter  length. 

From  the  Collection  of  Graf  Mniszech,  Paris 

See  W.  Bode  “Studies  in  Dutch  Painting”,  Page  8b,  and 

L.  Moes  “Frans  Hals”  No.  66. 


No.  6 

JAN  CORNELLS/  VERSPRONCK  (VERSPRONG) 

Dutch  School.  Born  at  Haarlem  in  1597;  buried 
there  June  30th  1662.  Painted  at  Haarlem. 

Portrait  of  a  Young  Man 

On  canvas.  Height,  7b;  width,  62 

Turned  towards  the  right  and  looking  straight  in  front  of 
him.  Long  hair  and  pointed  beard.  The  gloved  right  hand 
resting  on  his  hip,  and  the  left  thrust  into  his  cloak.  Black 
coat  with  lace  trimmed  collar  and  lace  cuffs. 

Signed:  “Jan  Verspronck” 


35 


No.  7 

JACOB  ADRIABNSZ  BACKER 


Dutch  School.  Born  at  Harlingen  in  1608  or  1609,  died  in  Am¬ 
sterdam  August  27th  1651.  Painted  at  Leeuwarden  and  Amsterdam. 

Portrait  of  the  Goldsmith  Johannes  Lutma 
of  Groningen 

On  oak.  Height,  61;  width,  71 

In  a  black  cloak  with  a  goldsmith’s  hammer  in  his  left  hand, 
he  is  looking  at  the  spectator.  On  the  right,  by  his  side,  is 
a  richly  wrought  centre-piece  and  a  beaker  with  tools. 
Half-length.  Oval. 

Signed  on  the  right  AB. 

From  the  Graf  Mniszech  Collection  in  Paris. 


No.  8 

JACOB  ADRIAENSZ  BACKER 

Dutch  School.  Born  at  Harlingen  in  1608  or  1609,  died  in  Am¬ 
sterdam  August  27th  1651.  Painted  at  Leeuwarden  and  Amsterdam. 

Portrait  of  the  Wife  of  Johannes  Lutma 

On  oak.  Height,  91;  width,  71 

Sitting  and  looking  straight  in  front  of  her,  the  lady,  who 
is  decidedly  comfortable  in  appearance,  has  laid  her  hand  on 
her  lap.  Broad  soft  cuffs  half  cover  the  hands,  as  do  a  large 
pointed  collar  and  a  cap  the  plump  face. 

Half-length.  Oval. 

Signed:  “A.  B.” 

From  the  Graf  Mniszech  Collection  in  Paris. 


36 


No.  9 

FERDINAND  BOL 

Dutch  School.  Baptized  June  24th  1616  at  Dordrecht, 
buried  July  24th  1680  in  Amsterdam.  Painted  in  Amsterdam. 

Portrait  of  a  Girl 

On  canvas.  Height,  100;  width,  77 

Leaning  against  the  half-open  front  door  and  supporting 
herself  by  both  arms  she  is  looking  laughingly  to  one  side. 
Dark  hair  and  dark  coloured  dress. 

From  the  Humphrey  Ward  Collection,  London. 


No.  10 

GOVERT  FLINCK 

Dutch  School.  Born  at  Cleves  in  1615,  died 
in  Amsterdam  in  1660.  Painted  in  Amsterdam. 

Portrait  of  a  Young  Man ,  in  the  costume  of  a  shepherd 

On  oak.  Height,  68;  width,  50,5 

A  youth  with  thick  hair,  beardless,  turned  slightly  to  the 
right  and  looking  in  the  same  direction.  In  his  gloved  left 
hand  he  holds  a  shepherd’s  crook.  A  bright  coloured  shawl 
over  his  braided  coat. 

Almost  life-sized.  Oval. 

From  the  Collection  of  Graf  Tyszkiewicz,  Warsaw. 


37 


No.  11 

PAUL  MOREELSE 

Bom  at  Utrecht  in  1571,  died  there 
March  19th  1638.  Painted  at  Utrecht. 

A  Young  Girl  in  the  character  of  St.  Agnes 

On  oak.  Height,  72;  width,  59 

In  a  white  silk  dress  and  a  light  pink  cloak,  a  necklace  of  pearls 
and  another  of  precious  stones,  pearl  ear-rings  and  pearl 
bracelets.  Under  the  right  arm  she  holds  a  little  lamb,  and 
in  her  left  hand  a  palm-leaf. 


No.  12 

THOMAS  DE  KEIJSER 

Dutch  School.  Born  in  Amsterdam  in  1596  or  1597, 
buried  there  June  7th  1667.  Painted  in  Amsterdam. 

Portrait  of  a  Young  Nobleman 

On  oak.  Height,  86;  width,  62 

Standing  by  a  table  covered  with  dark  velvet  table-cloth, 
holding  a  soft  hat  and  gloves  in  his  left  hand  and  resting  his 
right  on  his  sword.  In  a  slashed  black  silk  jacket,  small  lace 
collar  and  white  stockings.  On  the  right  at  his  side  a  large 
light  coloured  greyhound. 

Small  size,  full  length. 

Signed  and  dated  1624. 

Massey-Mainwaring  Collection,  London. 


38 


No.  13 

THOMAS  DE  KEIJSER 

Dutch  School.  Born  in  Amsterdam  in  1596  or  1597, 
buried  there  June  7th  1667.  Painted  in  Amsterdam. 

Portrait  of  an  Architect 

On  oak.  Height,  28;  width,  22,5 

In  an  armchair  which  is  decorated  at  the  back  with  a  lion’s 
head,  almost  full-face  and  looking  at  the  spectator  with  an 
eager  expression.  Thin  beard.  In  a  high  hat  with  flat 
white  collar  over  his  black  coat. 

Small  size,  half-length. 

Signed  on  the  right  “T.  d.  K.”  (interlaced). 

Oberkampf  Collection,  Paris. 


No.  14 

THOMAS  DE  KEIJSER 

Dutch  School.  Born  in  Amsterdam  in  1596  or  1597, 
buried  there  June  7th  1667.  Painted  in  Amsterdam. 

Portrait  of  a  Gentleman 

On  copper.  Oval.  Height,  23,5;  width,  18,5 

Turned  to  the  right  and  looking  straight  before  him.  Pointed 
beard  and  fair  curly  hair;  large  slouch  hat  and  narrow  soft 
Spanish  ruff  over  his  black  coat.  Bright  ground. 

Small  size.  Half-length. 

Signed:  “T.  d.  K.”  (interlaced). 

Collection  of  Comte  Montbrison,  Chateau  St.  Rock. 


39 


No.  15 

CORNELIUS  JANSSENS  VAN  CEULEN 

Dutch  School.  Born  in  London  October  1590,  died  in 
Amsterdam  or  Utrecht  about  1664.  At  first  painted 
in  England  and  from  1643  in  various  Dutch  towns. 

Portrait  of  a  Young  Officer 

On  oak.  Height,  38;  width,  29,5 

He  is  looking  straight  in  front  of  him  and  slightly  turned 
towards  the  left.  Over  his  dark  suit  of  armour  a  flat  Dutch 
collar.  Youthful  face  with  fair  curly  hair.  Dark  ground. 
Bust  length  and  rather  less  than  life-size. 

Signed:  “C.  J.  fecit  1643.” 

From,  the  Collection  of  Princesse  de  Caraman-Chimay,  Brussels. 


No.  16 

ADRIAN  THOMASZ  KEY 

Flemish  School.  Painted  from  about 
1558  to  1598,  principally  in  Antwerp. 

Portrait  of  Adrian  Cromhout,  Burgomaster  of 

Amsterdam 

On  oak.  Height,  66;  width,  5k 

Turned  slightly  to  the  left,  looking  in  front  of  him.  Hair 
cut  close  and  short  beard  streaked  with  gray.  In  a  black 
coat  with  full  sleeves  and  small  collar.  Dark  ground. 
Almost  life-size.  Bust-length  without  hands. 

Signed :  ADRIAEN  CROMH 
ACT  AT  IS  62 
BVRGERM.  van  AM  ST. 

Collection  of  Comtesse  de  Bearn,  Paris. 


40 


No.  17 

GERARD  TERBORGH  or  TER  BORCH 

Dutch  School.  Born  at  Zwolle  in  1617,  died  December  8th  1681. 
Painted  chiefly  at  Deventer,  but  before  that  in  Zwolle,  Am¬ 
sterdam,  Haarlem,  England,  Germany,  Italy,  Spain  and  France. 

Portrait  of  a  Gentleman 

On  canvas.  Height,  67;  width,  50 

By  a  table  with  a  reddish  yellow  iridescent  plush  table¬ 
cloth,  full  length,  with  the  left  hand  resting  on  a  chair  and 
looking  in  front  of  him.  In  a  high  hat,  flat  white  collar 
over  a  black  costume,  on  the  right  a  silk  curtain. 

Small  figure,  full-length. 


No.  18 

GERARD  TERBORCH  or  TER  BORCH 

Dutch  School.  Born  at  Zwolle  in  1617,  died  December  8th  1681. 
Painted  chiefly  at  Deventer,  but  before  that  in  Zwolle,  Am¬ 
sterdam,  Haarlem,  England,  Germany,  Italy,  Spain  and  France. 

Portrait  of  a  Lady 

On  canvas.  Height,  66;  width,  50 

Standing,  full-length,  looking  straight  in  front  of  her,  with 
her  right  hand  resting  on  a  table  with  an  orange  plush  table¬ 
cloth.  Black  dress  over  a  grey  silk  bodice,  lace  collar  and 
lace  undersleeves.  To  the  left  a  brown  silk  curtain. 

Small  figure;  full-length.  Pendant  to  the  preceding. 


41 


No.  19 

GERARD  TERBORCH  or  TER  BORCH 

Dutch  School.  Born  at  Zwolle  in  1617,  died  December  8th  1681. 
Painted  chiefly  at  Deventer,  but  before  that  in  Zwolle,  Am¬ 
sterdam,  Haarlem,  England,  Germany,  Italy,  Spain  and  France. 

Portrait  of  Herr  Jan  de  Graaf 

On  oak.  Height,  45,5;  width,  34,5 

Standing,  nearly  full  face,  looking  in  front  of  him,  he  rests 
his  gloved  right  hand  on  a  walking  stick.  His  slouch  hat  is 
lying  on  a  table  to  the  left  with  a  reddish  plush  cloth;  on 
the  right  is  a  pillar,  over  which  a  curtain  falls,  with  the 
Graaf  coat  of  arms  on  the  base. 

Three-quarter  length;  rounded  at  the  top. 

Signed  on  the  right:  “G.  T.  B.”  (interlaced) 

From  the  Collection  of  the  Due  de  Tremoille-Duchatel,  Paris, 

Exhibited  in  Paris  1875  in  the  Exposition  Alsace-Lorraine,  Cat.  No.  1028. 


No.  20 

GERARD  TERBORCH  or  TER  BORCH 

Dutch  School.  Born  at  Zwolle  in  1617,  died  December  8th  1681. 
Painted  chiefly  at  Deventer,  but  before  that  in  Zwolle,  Am¬ 
sterdam,  Haarlem,  England,  Germany,  Italy,  Spain  and  France. 

A  Girl ,  reading 

On  canvas.  Height,  37;  width,  27 

At  a  table,  on  which  are  an  inkstand  and  a  candle,  sits  a 
young  girl  on  the  left,  looking  up  from  a  book  with  illustra¬ 
tions.  She  wears  a  low  black  velvet  collar  over  a  light  lilac 
jacket  and  grey  silk  dress.  Around  the  short  curls  is  a 
white  headkerchief.  A  wall  with  closed  door  serves  as 
background. 

Signed  on  the  right  on  the  table:  “G.  B.  T. ”  (interlaced). 

Collection  Josua  van  Belle,  Rotterdam  1730 
Collection  Robert  de  Neuville,  Leyden  1736 
Collection  Meschert  van  Vollenhoven,  Amsterdam 
Collection  Dr.  Max  W assermann,  Paris 
Exhibited  in  Amsterdam  1867 
Exhibited  at  the  Hague  1890 


42 


No.  21 


GERARD  TERBORCH  or  TER  BORGH 

Dutch  School.  Born  at  Zwolle  in  1617,  died  December  8th 
1681.  Painted  chiefly  at  Deventer,  but  before  that  in  Zwolle,  Am¬ 
sterdam,  Haarlem,  England,  Germany,  Italy,  Spain  and  France. 

The  Music-lesson 

On  canvas.  Height,  61,5;  width,  47,5 

At  a  table,  covered  with  a  plush  table-cloth,  sits  a  young 
lady  in  a  yellow  fur  jacket  over  a  white  silk  dress  and  with 
a  red  ribbon  in  her  fair  hair,  absorbed  in  her  mandolin. 
Behind  the  table  is  an  officer  with  silver  laced  bandolier 
with  a  book  of  music  and  singing  to  the  lady’s  playing. 
Behind  him  stands  another  young  man  with  his  cloak  thrown 
around  him  and  looking  at  the  book.  Against  the  wall  is 
a  bed. 

Signed  (on  the  footstool):  “G.  T.  B.”  (interlaced). 

Collections:  John  Smith  ( Author  of  Catalogue  raisonne ),  London 
Perignon,  Paris,  182 4 
Michael  Peacock,  London 
See  Smith’s  Catalogue,  Vol.  IV.,  Page  119 

The  same  composition,  rather  larger  in  size,  is  in  the  National  Gallery  in  London.  The  young 
lady  is  sitting  nearly  straight  up  and  has  no  red  ribbon  in  her  hair,  on  the  table  is  an  oriental 
table-cover  and  on  the  left  by  the  door  is  a  dog.  Though  a  genuine  Terborch,  it  is  without 
signature.  A  portrait  of  the  young  lady  only  is  in  the  Gallery  at  Cassel. 


No.  22 

GERARD  TERBORCH  or  TER  BORCH 

Dutch  School.  Born  at  Zwolle  in  1617,  died  December  8th 
1681.  Painted  chiefly  at  Deventer,  but  before  that  in  Zwolle,  Am¬ 
sterdam,  Haarlem,  England,  Germany,  Italy,  Spain  and  France. 

Playing  Cards 

On  oak.  Height,  25,5;  width,  20 

A  lady  and  a  gentleman  are  sitting  opposite  each  other  at 
a  card-table.  The  man  looks  enquiringly  across  at  the  lady, 
who  is  in  a  light  dress  and  with  her  back  to  the  spectator. 
She  looks  up>  at  the  young  man  who  is  standing  behind  her 
to  the  left  and  is  selecting  a  card  for  her  to  play. 

Signed:  “G.  T.  B.”  (interlaced). 

From  the  Collection  of  the  Due  d’Ascoli,  Naples 
Smith’s  Catalogue  rais.  IV.,  Page  HO,  No.  74 


43 


No.  23 


GABRIEL  METSU  (more  rarely  METSUE) 

Dutch  School.  Born  at  Leyden  in  1629  or  1630,  buried  in  Am¬ 
sterdam  October  24th  1667.  Painted  in  Leyden  and  in  Amsterdam. 

Portrait  of  a  Young  Man 

On  oak.  Height,  23;  width,  21 

Sitting,  leaning  slightly  forward  and  looking  at  the  spectator. 
With  fair  wavy  hair,  in  a  grey  buttoned-up  coat  and  light 
grey  cloak  thrown  over  the  right  shoulder.  In  the  right  hand, 
resting  the  arm  on  the  table,  he  holds  a  roll  of  paper. 

Small  picture  of  three-quarter  length. 

Signed  above  on  the  left:  “G.  METSU  1664.” 

Lord  Ashburton  Collection,  London 

The  former  title  of  “ The  Artist's  own  Portrait"  is  'probably  incorrect,  to  judge  by  the  costume 
and  the  scroll  in  the  hand. 


No.  24 

GABRIEL  METSU  (more  rarely  METSUE) 

Dutch  School.  Born  at  Leyden  in  1629  or  1630,  buried  in  Am¬ 
sterdam  October  24th  1667.  Painted  in  Leyden  and  Amsterdam. 

The  Letter 

On  oak.  Height,  31,5;  width,  28,5 

A  young  woman  in  fur-trimmed  costume  is  sitting  at  the 
table  reading  a  letter;  with  her  right  hand  she  caresses  a 
dog  in  her  lap.  On  the  right  behind  her  is  the  maid  who 
has  brought  the  letter,  with  basket,  bag  and  envelope  in  her 
left  hand.  A  bright  cloth  is  on  the  table. 

Signed  (on  the  envelope):  “METSU.” 

Collection  C.  G.  Blanken,  the  Hague  1800 
Collection  Kalkbrenner,  Paris 
Collection  Adrian  Hope,  London,  Catalogue  No.  il 
Collection  Arthur  Sanderson,  Edinburgh 
Smith’s  Catalogue  rais.  Supplement  No.  28. 


44 


No.  25 


GABRIEL  METSU  (more  rarely  METSUE) 

Dutch  School.  Born  at  Leyden  in  1629  or  1630,  buried  in  Am¬ 
sterdam  October  24th  1667.  Painted  in  Leyden  and  in  Amsterdam. 

Lady ,  feeding  her  little  dog 

On  canvas.  Height,  b6;  width,  87,5 

In  an  elegantly  furnished  room,  in  front  of  a  high  fire-place 
with  a  fire  burning  on  the  right,  a  young  lady  in  a  grey  jacket 
lined  with  ermine,  cinnamon  coloured  dress  and  a  black 
mourning  veil.  In  her  left  hand  she  holds  a  plate  on  which 
a  young  serving-maid  who  is  kneeling  at  the  fire  on  the 
right  is  putting  a  cake  which  she  has  just  taken  out  of  the 
pan.  On  the  lady’s  lap  is  a  little  brown-spotted  dog,  looking 
greedily  at  the  cake. 

Collection  of  Baron  Delessert,  Paris  1869 

and  of  Maurice  Kann,  Paris  1909 

Smith’s  Catalogue,  Vol.  k.  No.  115,  Supplement  No.  18. 


No.  26 

QUIERINGH  GERRITSZ  BREKELENKAM 

Dutch  School.  Bom  about  1620  at  Swammerdam 
near  Leyden,  died  1668  at  Leyden,  where  he  painted. 

The  Fisherman  and  the  Cook 

On  oak.  Height,  lj.2;  width,  3U 

A  fisherman,  his  rod  in  his  left  hand,  is  jokingly  trying  to 
take  by  the  chin  the  young  cook  who  is  standing  by  the 
table  and  cleaning  some  fish.  In  front  on  a  window-sill  a 
dish  of  fish,  a  kettle,  a  basket  of  vegetables  and  to  the  left, 
a  little  further  back,  the  man’s  fish-basket. 

Signed  with  monogram. 

From  the  Jules  Porges  Collection,  Paris. 


45 


No.  27 


QUXERINGH  GERRITSZ  BRE  K ELEN K AM 

Dutch  School.  Born  about  1620  at  Swammerdam 
near  Leyden,  died  1668  at  Leyden,  where  he  painted. 

A  young  Couple,  taking  wine  together 

On  oak.  Height,  41;  width,  34,5 

To  a  young,  fashionably  dressed  man,  sitting  in  a  room  by 
the  window,  a  young  lady  sitting  vis-a-vis  is  offering  a  glass 
of  wine.  On  the  right,  a  table  with  various  things  upon  it; 
on  the  left,  a  violin  and  bow  resting  by  the  side  of  a  stool. 
On  the  light  coloured  wall,  a  large  landscape  picture. 
Signed  with  monogram. 

Collection  of  Lady  Wantage,  Locking,  Wantage 
Collection  of  Sir  George  Donaldson,  London. 


No.  28 


JAN  STEEN 

Dutch  School.  Born  at  Leyden  about,  1626,  buried  there 
February  3d  1679.  Painted  in  Leyden,  Haarlem  and  the  Hague. 

The  Music-lesson,  known  by  the  name  “ Jan  Steen 

and  his  wife ” 

On  oak.  Height,  32;  width,  26,5 

A  young  woman  in  a  reddish  velvet  jacket,  trimmed  with 
fur,  is  playing  the  flute  whilst  her  instructor  opposite,  who 
has  risen  from  his  chair,  is  counting  time  and  listening  atten¬ 
tively.  A  four-poster  in  the  back-ground  on  the  right,  and 
a  low  table  with  a  glass  upon  it  in  the  foreground  on  the 
left. 

Signed  “J.  S.”  (interlaced). 

From,  the  Massey-Mainwaring  Collection,  London. 


46 


No.  29 


JAN  STEEN 

Dutch  School.  Born  at  Leyden  about  1626,  buried  there  in 
February  1679.  Painted  in  Leyden,  Haarlem  and  the  Hague. 

Music-lesson  by  Candle-light 

On  oak.  Height,  2 if, 5;  width,  19,5 

A  woman  in  a  dark  costume  is  singing  and  accompanying 
herself  on  the  guitar,  and  looking  attentively  at  the  piece 
of  music,  which  is  lying  on  the  table  in  front  of  her  to  the 
right,  and  lighted  by  a  tall  candle.  The  music  master  in  a 
soft  hat  is  leaning  his  right  arm  on  the  edge  of  the  table  and 
singing  with  her. 

Signed  with  name. 


No.  30 

JAN  STEEN 

Dutch  School.  Born  at  Leyden  about  1626,  buried  there  in 
February  1679.  Painted  in  Leyden,  Haarlem  and  the  Hague. 

Grace  before  Meat 

On  canvas.  Height,  1$;  width,  51} 

In  a  brightly  lighted  room,  in  the  foreground  on  the  left, 
sit  a  father  and  mother  with  their  child  in  a  reverent  attitude 
at  table,  while  an  older  son  standing  by  on  the  right  is  saying 
grace.  In  front  of  him  in  a  cradle  is  the  youngest  child 
asleep;  by  the  side  is  a  little  dog.  Against  the  wall  is  an 
open  cup-board  and  a  shelf  with  a  kettle,  etc.  on  it. 

Signed  below  on  the  right;  “J.  Steen.” 

Collection  of  Lady  Wantage,  Lockinge,  Wantage 
Collection  of  Sir  George  Donaldson,  London. 


47 


No.  31 

JAN  STEEN 

Dutch  School.  Born  at  Leyden  about  1626,  buried  there 
February  3d  1679.  Painted  in  Leyden,  Haarlem  and  the  Hague. 

The  Drawing -lesson 

On  oak.  Height,  47;  width,  39 

The  drawing  master  is  correcting  a  drawing  which  a  young 
girl  has  just  finished;  the  girl  is  looking  on  and  at  the  same 
time  sharpening  a  pencil.  Behind  the  table  sits  a  little  boy. 
On  the  table  are  all  sorts  of  objects.  Behind  a  tapestry 
which  hangs  from  the  ceiling  is  an  easel,  on  which  is  a  half- 
finished  picture.  In  the  foreground  to  the  right,  a  laurel 
wreath,  a  lute,  a  muff  and  several  other  still-life  objects. 
Signed  below:  “J.  Steen” 

Collections:  J.  van  Ilessel,  Amsterdam  1747. 

Due  de  Lavalliere,  Paris  1781 
Norman  Forbes,  London  1901 
Steen-Exhibition  at  Dowdeswell’s,  London  1909 
Smith's  Catalogue,  Vol.  IV,  No.  36. 


No.  32 

JAN  STEEN 

Dutch  School.  Born  at  Leyden  about  1626,  buried  there 
February  3d  1679.  Painted  in  Leyden,  Haarlem  and  the  Hague. 

The  Siesta 

On  canvas.  Height,  56;  width,  75 

On  a  verandah  covered  with  vine,  in  front  of  a  table,  which 
is  still  laid,  sits  an  old  man  with  a  high  hat,  reading  a  book. 
In  the  foreground  is  a  young  girl  who  has  fallen  asleep. 
Behind  her  is  the  servant-maid  who  is  about  to  clear  away. 
On  the  right  is  an  outlook  on  to  a  woody  landscape. 

Collections:  Smeth  van  Alpen  Amsterdam  1810.  W.  Ryers,  Amsterdam  1814, 

Everett,  London  1888.  Yerkes .  New  York  1910,  No.  91 

Winter  Exhibition,  London  1885,  No.  86 

Described  in:  Waagen  Supplement,  Page  391.  Smith’s  Catalogue  No.  82 
Westreehne,  Page  365.  Hofstede  de  Groot,  Vol.  1,  No.  372 
“Among  the  choicest  works  of  this  master” .  Waagen. 


48 


No.  33 

NICOLAES  MAES 

Dutch  School.  Bom  at  Dordrecht  in  November 
1632,  buried  in  Amsterdam  December  24th  1693. 

Painted  in  Amsterdam,  Antwerp  and  Dordrecht. 

A  Cook  plucking  a  Duck 

On  canvas.  Height,  58;  width,  6h 

The  young  girl  is  sitting  at  the  window  of  the  brightly  lighted 
kitchen  and  is  about  to  pluck  a  duck.  In  front  of  her  a 
cat  is  stealthily  creeping  towards  a  wild  duck  which  is  lying 
on  the  floor  amid  apples  and  kitchen  utensils.  Behind  on 
the  right  a  cup-board,  utensils  and  a  gun  with  a  powder 
bag.  On  the  left  we  look  into  a  room. 

Signed  below  on  the  right:  “N.  MiES.” 

Collection  of  Adrian  Hope,  Catalogue  No.  39 
Collection  of  Jules  Forges,  Paris. 


No.  34 

PIETER  DE  HOOCH 
(more  rarely  de  Hoogh  or  Hooge) 

Dutch  School.  Baptized  December  20th  1629  in  Rotter¬ 
dam^);  died  soon  after  1687,  probably  in  Amsterdam. 
Painted  at  the  Hague,  Delft  and  Amsterdam. 

A  Dutch  Home 

On  canvas.  Height,  62;  width,  53 

The  mother  is  sitting  at  an  open  door  and  tying  on  her 
little  one’s  white  cap.  The  young  husband,  his  books  under 
his  arm,  is  mounting  the  small  staircase  which  leads  to  his 
room  (behind  on  the  right)  on  the  floor  above.  A  little 
white  dog  is  playfully  jumping  up  at  him. 

Signed:  “P.  de  Hoogh  1668.” 

From  the  Due  de  Broglie's  Collection. 


49 


No.  35 


PIETER  DE  HOOCH 
(more  rarely  de  Hoogh  or  Hooge) 

Dutch  School.  Baptized  December  20th  1629  in  Rotter¬ 
dam^);  died  soon  after  1687,  probably  in  Amsterdam. 
Painted  at  the  Hague,  Delft  and  Amsterdam. 

The  Young  Mother 

On  canvas.  Height,  55;  width,  64 

In  a  Dutch  room  with  a  coloured  stone  pavement  a  young 
mother  is  sitting  by  the  fireside,  feeding  her  baby  with  soup. 
She  is  speaking  to  the  cook,  who  is  standing  behind  her  to 
the  right  with  a  dead  duck  in  her  right  hand.  On  the  right 
is  a  view  on  to  a  road  with  the  towers  of  Delft  in  the  back¬ 
ground. 

Signed:  “P.  de  Hoogh.” 

Collection  Comtesse  de  Miranda,  nee  Nilson,  Paris 
and  of  the  Due  de  Morny,  Paris. 


No.  36 

PIETER  DE  HOOCH 
(more  rarely  de  Hoogh  or  Hooge) 

Dutch  School.  Baptized  December  20th  1629  in  Rotter¬ 
dam^);  died  soon  after  1687,  probably  in  Amsterdam. 
Painted  at  the  Hague,  Delft  and  Amsterdam. 

The  Flower  Garden 

On  oak.  Height,  50,5;  width,  42 

On  a  sunny  path  a  woman,  basket  on  arm,  is  walking  between 
hedged-in  flower  beds  to  a  country  house.  By  her  side  is  a 
dog.  A  high  fence  on  the  left  shuts  in  the  garden;  at  the 
back  are  some  high  trees.  In  front  of  the  house  is  a  young 
woman  listening  to  her  husband  playing  the  flute. 

Langton  Douglas  Collection,  London 
and  the  Humphry  Ward  Collection,  London 

Described  in  Smith's  Catalogue  rais.,  Supplement  Page  568,  No.  17. 


50 


No.  37 

ISAGK  KOEDIJCK 

Dutch  School.  Born  in  Leyden  1616  or 
1617;  died  in  Amsterdam  after  1677. 

A  Mother  and  her  Child 

On  oak.  Height,  8b;  width,  28,5 

A  young  wife  is  sitting  in  the  foreground  on  the  left  near 
the  fireside.  In  her  arm  she  holds  her  child  to  which  she 
has  just  given  suck.  On  her  right  by  her  side  the  open 
cradle.  In  the  background  of  the  room  is  the  bed  on  the 
right  and  the  door  on  the  left. 

Collection  Calonne 

Collection  Arthur  Sanderson,  Edinburgh 

Smith’s  Catalogue,  Vol.  b,  No.  b,  Page  2bb>  under  N.  Maes. 


No.  38 

PIETER  CODDE 

Dutch  School.  Born  1599 — 1600  in  Amsterdam,  buried 
there  October  12th  1679.  Painted  in  Amsterdam. 

A  Lady  at  the  Piano 

On  oak.  Height,  bl,5;  width,  32 

Sitting  at  an  open  piano  with  her  back  to  the  spectator. 
Fair  haired  with  flat  lace  collar  over  a  dark  silk  dress.  Under 
the  piano  a  Smyrna  carpet.  By  the  side  on  the  right  a 
violoncello. 

John  Wilson  Collection,  Paris. 

Due  de  Norbonne  Collection,  Paris  1909. 


51 


No.  39 


ADRIAN  VAN  OSTADE 
(less  commonly  OSTADEN) 

Dutch  School.  Baptized  at  Haarlem  December  10th  1610; 
buried  there  May  2nd  1685.  Painted  at  Haarlem. 

Rollicking  Peasants  in  the  Interior  of  a  Cottage 

On  oak.  Height,  U0,5;  width,  56,5 

In  the  centre  of  the  foreground  a  couple  making  love  in 
rather  a  coarse  fashion,  while  a  peasant  and  peasant-woman 
are  looking  on  laughing.  To  the  left  a  peasant  asleep.  To 
the  right  a  couple  kissing.  By  the  fire-side  on  old  woman 
blowing  on  coals  in  a  pair  of  tongs.  Here  and  there  are 
children. 

Signed:  “Ostade  f. ” 

From  the  Collection  of  Colonel  Legh  of  Legh-Hall,  Kunstford,  England 


No.  40 

ADRIAN  VAN  OSTADE 
(less  commonly  OSTADEN) 

Dutch  School.  Baptized  at  Haarlem  December  10th  1610; 
buried  there  May  2nd  1685.  Painted  at  Haarlem. 

Man  with  a  Hurdy  gurdy 

On  oak.  Height,  kh',  width,  35,5 

In  front  of  a  peasant’s  cottage,  which  takes  up  the  whole 
width  of  the  picture,  near  the  door  on  the  right,  stands  an 
old  hurdy-gurdy  man,  surrounded  by  children.  From  the 
half  open  door  the  old  peasant  couple  looking  on. 

Signed:  “A.  Ostade  1640.” 

Similar  compositions  of  the  same  period  are  in  the  Berlin  Gallery,  the  Von  Wesendonclc  Collec¬ 
tion,  the  Fitzwilliam-Museum  in  Cambridge,  &c. 

From  the  Massey-Mainwaring  Collection,  London . 


52 


No.  41 


ADRIAN  VAN  OSTADE 
(less  commonly  OSTADEN) 

Dutch  School.  Baptized  at  Haarlem  December  10th  1610; 
buried  there  May  2nd  1685.  Painted  at  Haarlem. 

A  Party  of  Smokers 

On  oak.  Height,  35;  width,  31,5 

In  a  peasant’s  room  in  front  of  a  large  window  three  peasants 
are  sitting  in  the  foreground  at  a  low'  three-cornered  table. 
The  one  on  the  left  is  raising  his  mug  and  speaking  to  his 
right-hand  neighbour,  who  is  smoking;  the  third  at  the  back 
is  just  going  to  light  his  pipe  on  the  right;  by  the  door  is 
a  press  with  a  yarn-windle  upon  it. 

Signed  with  name. 

Collection  of  Is.  Perreire,  Paris 

Collection  of  Ferd.  Halphon,  Paris 

Described  in  Smith’s  Catalogue  mis.  1,  No.  91. 


No.  42 

ADRIAN  VAN  OSTADE 
(less  commonly  OSTADEN) 

Dutch  School.  Baptized  at  Haarlem  December  10th  1610; 
buried  there  May  2nd  1685.  Painted  at  Haarlem. 

A  Peasant  making  purchases 

On  oak.  Height,  15,5;  width,  11,5 

In  a  village  street  stands  an  old  peasant  who  is  putting  his 
hand  in  his  pocket,  apparently  feeling  for  money  to  pay  for 
some  fish  which  is  exposed  for  sale  on  a  stall  somewhat 
further  in  the  background  on  the  left. 

Signed:  “A.  v.  Ostade.” 


53 


No.  43 

ISACK  VAN  OSTADE 

Dutch  School.  Baptized  at  Haarlem  June  2nd  1621, 
died  there  October  16th  1649.  Painted  at  Haarlem 

Rest  in  front  of  a  Public-house 

On  oak.  Height,  SO;  width,  31+ 

On  the  left  in  front  of  a  public-house  is  a  gipsy  encampment; 
a  tattered  woman  is  bringing  food  to  the  men.  Behind  is  a 
boy  on  donkey -back  drinking,  and  to  the  right  a  man  asleep. 
On  the  right  is  the  high  road  and  distant  view. 


No.  44 

ISACK  VAN  OSTADE 

Dutch  School.  Baptized  at  Haarlem  June  2nd  1621; 
died  there  October  16th  1649.  Painted  at  Haarlem. 

A  Horse  on  the  High-road 

On  canvas.  Height,  31,5;  width,  26,5 

Across  the  road  sideways  stands  a  dappled  brown  horse  in 
front  of  a  tree  on  the  right.  Further  back  a  man  is  seen 
from  behind.  In  the  distance  is  a  church  tower. 

Signed  in  front  on  the  right.  “1.  v.  Ostade.” 


54 


No,  45 

ISACK  VAN  OSTADE 

Dutch  School.  Baptized  at  Haarlem  June  2nd  1621; 
died  there  October  16th  1649.  Painted  at  Haarlem. 

A  Winter  Landscape 

On  oak.  Height,  86;  width,  32,5 

Narrow  frozen  canal  with  skaters  and  sledges.  The  largest 
is  being  drawn  by  a  white  horse  up  to  the  cottage  on  the 
left  bank.  Spectators  on  the  right  and  on  the  narrow  bridge 
in  the  middle  distance.  To  the  left  a  peasant’s  thatched 
house. 

Signed;  ‘Tsack  van  Ostade.” 

Collection  of  Comte,  Leboeuf-M ontgermon,  Paris 
Collection  of  Dr.  Max  W assermann,  Paris. 


No.  46 


JAN  VAN  GOIJEN 

Dutch  School.  Born  at  Leyden  January  18th  1596;  died  at 
the  Hague  at  the  end  of  April  1656.  After.making  some  tours 
in  France  and  Belgium,  he  painted  at  Leyden  and  the  Hague. 


A  River  Landscape 

On,  oak.  Height,  39;  width,  59 

A  castle  towering  amid  some  trees  over  a  high  wall,  which 
slopes  towards  the  river  on  the  right.  In  the  distance  on 
the  left  are  seen  the  trees  on  the  opposite  bank.  Fishermen 
angling  in  rowing  and  sailing  boats  in  the  bright  background 
and  in  the  dark  strip  of  shade  in  the  foreground. 

Signed:  “V.  G.  1643.” 


55 


No.  47 


JAN  VAN  GOIJEN 

Dutch  School.  Born  at  Leyden  January  13th  1596;  died  at 
the  Hague  at  the  end  of  April  1656.  After  making  some  tours 
in  France  and  Belgium  he  painted  at  Leyden  and  the  Hague. 

A  calm  Sea  near  the  Coast 

On  oak.  Height,  27;  mdth,  32,5 

Sailing  and  rowing  boats  with  fishermen;  in  fore-  and  back¬ 
ground  an  overcast  sky  and  rich  play  of  light  and  shadow. 
In  the  middle  distance  to  the  left,  a  low  projecting  strip  of 
land;  to  the  right,  fairly  large  ships,  one  of  which  has  just 
fired  upon  the  other. 

Signed:  “V.  G.  1655.” 

From  the  Hoogendyck  Collection  at  the  Hague. 


No.  48 

ALBERT  CUIJP 

Dutch  School.  Born  at  Dordrecht  in  October  1620;  died 
there  November  15th  1691.  Painted  chiefly  at  Dordrecht. 

A  River  Landscape 

On  oak.  Height,  26,5;  width,  hi 

To  the  left  on  the  low  banks  are  three  cows  lying  down,  and 
behind  in  the  full  light  a  tumble-down  cottage  and  some 
bushes.  To  the  right  a  young  fellow  launching  a  boat  laden 
with  wood;  further  back  some  more  boats. 

From  the  Collection  of  Comte  Greffulhe,  Paris. 


56 


No.  49 

ALBERT  CUIJP 

Dutch  School.  Born  at  Dordrecht  in  October  1620;  died 
there  November  15th  1691.  Painted  chiefly  at  Dordrecht. 

Starting  for  a  Ride 

On  oak.  Height,  37;  width,  52,5 

On  the  left  a  youngish  looking  man  is  looking  at  his  horse, 
which  is  led  out  by  a  groom  in  a  red  coat.  In  front  are  two 
blood-hounds.  A  viaduct  with  a  view  on  to  a  woody  land¬ 
scape. 

Signed  with  name. 

From  the  Jules  Porges  Collection,  Paris. 


No.  50 

ALBERT  CUIJP 

Dutch  School.  Born  at  Dordrecht  in  October  1620;  died 
there  November  15th  1691.  Painted  chiefly  at  Dordrecht. 

Horsemen  in  front  of  an  Inn 

On  oak.  Height,  58;  width,  1$ 

In  the  foreground  are  two  men  with  their  horses,  of  which 
one,  a  dapple-gray,  is  unsaddled.  On  the  right  a  big  dog  is 
lying.  On  the  left  in  the  shade  of  some  trees  is  an  inn  of 
which  only  the  thatched  roof  and  the  sign-board  with  a 
chanticleer  and  the  words  “in  den  Haen”  are  visible.  On 
the  right  are  rocky  hills  at  the  foot  of  which  is  a  shepherd 
with  his  flock.  In  the  background  a  river  and  a  windmill. 
Signed  in  full  below. 

Signed:  “A.  Cuyp.” 

From  the  Earl  of  Kilmorey’s  Collection  at  Morne  Park,  Kilkeel 
Winter  Exhibition,  London  1882,  No.  12 It 
Maurice  Kann  Collection,  Paris  1909. 


57 


No.  51 

ALBERT  CUIJP 

Dutch  School.  Born  at  Dordrecht  in  October  1620,  died 
there  November  15th  1691.  Painted  chiefly  at  Dordrecht. 

Landscape  with  a  Horseman  and  some  Herdsmen 

On  oak.  Height,  39,5;  width,  5.{. 

In  the  foreground  on  the  right  a  horseman  is  talking  to 
three  herdsmen  on  a  road.  By  his  side  is  a  cow  standing 
and  another  lying  down.  To  the  left  a  broad  river,  on  the 
right  side  of  which  is  an  extensive  ruin. 

Signed  on  the  left:  “A.  Cuyp.  ” 

Vente  Heris  ( Bire  Collection )  in  Paris,  March  25th  18bl,  No.  28 

Vente  Th.  Patureau  in  Paris,  April  20th  1857 

Vente  Marquise  de  Rodes  in  Brussels  1868 

Vente  Chr.  Raban.  Ruhl  in  Cologne,  May  15th  1876,  No.  62 

Collection  of  Etienne  le  Roy  in  Brussels 

Collection  of  Leon  Cordon  in  Brussels 

Collection  of  Fernand  Halphen  in  Paris 

Described  in  Ch.  Blanc,  “ le  tresor  de  la  curiosite"  2,  44-3. 


No.  52 

SALOMON  VAN  RUIJSDAEL 

Dutch  School.  Born  at  Haarlem  about  1600;  buried 
there  November  1st  1670.  Painted  at  Haarlem. 

A  broad  River  with  Cows 

On  oak.  Height,  IfO;  width,  59,5 

On  the  left  a  farm-yard  with  thick  bushes  and  trees.  In 
front  of  it,  in  the  foreground,  cows  on  the  bank  and  in  the 
shallow  water.  Further  back  to  the  right  a  view  over  a 
broad  river  with  boats  on  it;  in  the  distance  is  a  town  on 
the  other  side  of  the  river. 

Signed:  “S.  v.  R.  1653.” 


58 


No.  53 

SALOMON  VAN  RUIJSDAEL 

Dutch  School.  Born  at  Haarlem  about  1600;  buried 
there  November  1st  1670.  Painted  at  Haarlem. 

River  Landscape 

On  oak.  Height,  51;  width,  75,5 

On  the  left  bank  of  a  broad  river,  a  goodly  sized  town  with 
a  high  steeple  and  numerous  mills.  The  left  bank  is  flat 
low-land.  In  the  foreground  a  grassy  chasm,  and  close  by 
are  two  boats  from  which  one  net  has  been  thrown  out;  on 
the  right  in  the  distance  are  sailing  boats  on  the  river. 
Signed:  “S.  R.  1657.” 


No.  54 

JACOB  VAN  RUISDAEL 
(less  commonly  RUIJSDAEL) 

Dutch  School.  Born  in  Haarlem  in  1628  or  1629;  died  there 
March  14th  1682.  Painted  in  Haarlem  and  Amsterdam. 

Stagnant  Water ,  at  the  foot  of  a  wooded  slope  of  a  hill 

On  canvas.  Height,  31;  width,  h%,5 

By  the  marshy  water  stand  a  few  tall  trees  in  the  foreground 
on  the  right;  a  wooded  hill  on  the  left. 

Signed:  “J.  v.  R.”  (interlaced). 

From  the  Collection  of  Josef  Depret,  Paris 


59 


No.  55 


JACOB  VAN  RUISDAEL 
(less  commonly  RUIJSDAEL) 

Dutch  School.  Born  in  Haarlem  in  1628  or  1629;  died  there 
March  14th  1682.  Painted  in  Haarlem  and  Amsterdam. 

A  Road  leading  to  a  Village 

Or  canvas.  Height,  5k',  width,  62 

To  a  village,  the  houses  of  which  peep  out  from  behind  trees, 
leads  a  broad,  badly  kept  road.  On  the  right  an  old  church 
tower,  and  in  front  of  it  a  windmill.  Behind  the  hamlet  is 
a  woody  hill.  In  the  foreground  on  the  road  a  woman  and 
her  child;  a  man  in  the  middle  distance. 

Signed:  “J.  Ruijsdael.  ” 

Collection  of  Meschert  van  Vollenhoven,  Amsterdam  1892.  Catalogue  No.  8 
Collection  of  Jules  Porges,  Paris 
Exhibited  in  Amsterdam  1867 
Exhibited  in  the  Hague  1890 


No.  56 

JACOB  VAN  RUISDAEL 
(less  commonly  RUIJSDAEL) 

Dutch  School.  Born  in  Haarlem  in  1628  or  1629;  died  there 
March  14th  1682.  Painted  in  Haarlem  and  Amsterdam. 

View  on  the  Bleaching  Grounds  with  the  Rgmont  Ruin 

behind  them 

On  canvas.  Height,  1^5;  width,  55,5 

In  front  of  a  sandhill  in  the  foreground  on  the  right  we  look 
upon  some  meadows  where  linen  is  being  bleached.  To  the 
left  a  few  small  houses.  In  the  middle  distance,  near  the 
wood,  in  the  deep  shade  cast  by  a  heavy  cloud,  are  the  ruins 
of  the  Egmont  Castle.  Woods  in  the  distant  background. 

Collection  of  Sir  Charles  Knowles,  London 
Collection  of  H.  J.  Munroe,  London 
Collection  of  Thomas  A.  Kay,  Glasgow 

Exhibited  in  Leeds  1868  and  at  the  Royal  Academy,  London  1895 
Described  in  Smith’s  Catalogue  rais.  VI,  Page  63,  No.  200 


60 


No.  57 


JACOB  VAN  RUISDAEL 
(less  commonly  RUIJSDAEL) 

Dutch  School.  Born  in  Haarlem  in  1628  or  1629;  died  there 
March  14th  1682.  Painted  in  Haarlem  and  Amsterdam. 

View  from  the  Sand  Dunes  on  to  the  Sea 

On  canvas.  Height,  25;  width,  3k 

In  the  foreground  to  the  right  on  the  sandhill  illumined  by 
a  harsh  streak  of  light  are  some  sea-faring  men  looking  at 
the  troubled  sea.  Several  fishing  boats  in  the  distance.  In 
the  overcast  sky  are  driving  storm-clouds. 

Signed:  “J.  Ruijsdael.” 

From  the  Maurice  Kann  Collection,  Paris 


No.  58 

MEINDERT  HOBBEMA 

Dutch  School.  Born  1638  in  Amsterdam;  died 
there  December  7th  1709.  Painted  in  Amsterdam. 

A  Farmyard,  behind  some  trees  on  the  banks  of  a  brook 

On  oak.  Height,  kkl  width,  6k 

Behind  a  broad  brook,  on  whose  banks  are  two  anglers, 
and  amid  high  trees,  is  a  fairly  large  farm-yard,  consisting 
of  low  buildings  with  red  tiled  roofs.  To  the  left  is  a  view 
over  the  brook  on  to  the  low-lying  dunes  with  some  bushes. 
Signed  on  the  right.:  “M.  Hobbema.” 

From  the  Collection  of  Count  Montbrison,  Chateau  St.  Rock 


61 


MEINDERT  HOBBEMA 


w 


No.  60 

MEINDERT  HOBBEMA 

Dutch  School.  Born  1638  in  Amsterdam;  died 
there  December  7th  1709.  Painted  in  Amsterdam. 

Farmyard ,  amid  some  oak  trees  in  bright  sunshine 

On  canvas.  Height,  78,5;  width,  65 

On  the  left  in  the  foreground,  a  party  of  peasants  making 
a  scanty  meal  in  the  shade  of  some  trees  on  the  banks  of  a 
stream.  In  the  centre,  some  barns  in  the  full  blaze  of  the 
sun.  In  the  background  to  the  right  a  village  with  a  church 
brightly  illumined  by  the  sun. 

Signed  with  name. 

Collection  of  J.  Reynders,  Brussels  1817 
Collection  of  Watson  Taylor,  London  1832 
Collection  of  C.  J.  Nieuwenhuys,  London 
Herris  Collection,  London 

Collection  of  H.  M.  Leopold  II.,  King  of  the  Belgians 

Companion  picture  to  “The  Mill”  in  the  Louvre,  together  with  which  it  was  at  one  time  in  the 
possession  of  C.  J.  Nieuwenhuys. 

Described  in  Emile  Michel’s  “Hobbema" ,  Page  i9. 


63 


No.  61 


AERT  (AERNOUT)  VAN  DER  NEER 

Dutch  School.  Born  1603  in  Amsterdam;  died 
there  November  9th  1677.  Painted  in  Amsterdam. 

A  Canal ,  in  the  light  of  the  evening  sun 

On  oak.  Height,  19;  width,  25 

On  a  narrow  canal  or  river,  in  the  still  water  of  which  the 
warm  evening  light  is  mirrored,  is  a  row  of  houses  on  the 
left.  In  the  foreground  sits  a  man  fishing ;  another  is  walking 
along  the  road  with  a  boy.  On  the  right  bank,  cattle  grazing 
in  front  of  trees. 

Signed  with  monogram. 


No.  62 

AERT  (AERNOUT)  VAN  DER  NEER 

Dutch  School.  Born  1603  in  Amsterdam;  died 
there  November  9th  1677.  Painted  in  Amsterdam. 

A  Winter  Landscape 

On  oak.  Height,  24;  loidth,  35 

Among  the  boats  stuck  fast  on  a  broad  frozen  river  some 
skaters  are  playing  “Kolf.”  Right  and  left  are  small  houses 
with  red  gables  amidst  trees.  A  windmill  in  the  background. 
Signed  with  monogram. 

Collection  of  Theodor  Lang,  Paris 
Collection  of  Jules  Porges,  Paris 


64 


No.  63 


JAN  VAN  DE  CAPELLE,  or  CAPPELLE 

Dutch  School.  Born  1624  or  1625  in  Amster¬ 
dam,  died  there  1679.  Painted  in  Amsterdam. 

A  Winter  Landscape 

On  canvas.  Height,  45,4;  width,  56 

On  a  frozen  pond,  in  the  centre  of  a  Dutch  hamlet,  a  number 
of  persons  skating  and  others  standing  about.  Houses  on 
the  bank;  a  bridge  in  the  centre  of  the  picture  leading  to 
a  church  with  a  flat-topped  tower. 

Signed  with  monogram. 

Collection  of  Colonel  Hankey,  London 
Collection  of  Adolphe  Schloss,  Paris 


No.  64 

WILLEM  VAN  DE  VELDE  THE  YOUNGER 

Dutch  School.  Born  at  Leyden  in  1633;  died  at 
Greenwich  in  1707.  Painted  in  Amsterdam  and  London. 

A  Calm  Sea  on  the  Flats 

On  oak.  Height,  26,5  ;  width,  21 

On  the  left  in  the  foreground  are  several  boats  on  the  shore. 
Quite  in  the  foreground  is  a  man  with  a  wicker-basket  on 
his  back.  Other  boats  in  the  distance. 

Signed  with  name  and  date. 

From  the  Collection  of  Madame  de  Salme,  Paris 


65 


No.  65 


WILLEM  VAN  DE  VELDE  THE  YOUNGER 

Dutch  School.  Born  at  Leyden  in  1633;  died  at 
Greenwich  in  1707.  Painted  in  Amsterdam  and  London. 

A  Calm  Sea 

On  oak.  Height,  26,5;  width,  21 

Two  sailing  boats  being  unrigged  and  unloaded  with  the 
help  of  some  rowing  boats.  The  one  on  the  left  is  rather 
more  in  the  foreground  and  made  more  prominent  by  strong 
light  and  shade  contrasts.  Sunny  distant  sea-prospect. 
Signed:  “W.  v.  V.” 


No.  66 

PHILIPS  WOUWERMANS 

Dutch  School.  Baptized  at  Haarlem  May  24th  1619; 
died  there  May  19th  1668.  Painted  at  Haarlem. 

A  Ford  near  the  Dunes 

On  canvas.  Height,  56;  width,  71,5 

The  full  light  of  the  sun  is  falling  on  a  sparsely  wooded 
sandhill  in  the  middle  distance,  while  the  river  bank  and  the 
rich  distant  view  which  is  visible  on  the  left  is  piquantly 
illumined  by  the  thunder  clouds.  In  the  foreground  a  fisher¬ 
man  and  a  few  horsemen  and  a  woman,  crossing  the  ford; 
in  the  right  is  a  cottage  by  the  road-side. 

Signed  with  monogram. 

From  the  Clement  Duval  Collection,  Paris 


66 


No.  67 


JAN  VAN  DER  HEIJDE  (also  VAN  DER  HEIJDEN) 

Dutch  School.  Bom  1637  at  Gorinchem;  died  September 
28th  1712  in  Amsterdam.  Painted  in  Amsterdam  and 
during  tours  in  the  Netherlands,  Germany  and  England. 

Starting  for  the  Chase 

On  oak.  Height,  31  ;  width,  23,5 

On  the  left  behind  a  green  hedge  is  a  Dutch  country  house, 
on  the  right  a  lofty  gateway  with  view  down  a  shady  avenue 
of  trees  with  a  pedestrian.  In  the  foreground,  a  distinguished 
looking  lady  on  horseback  and  two  horsemen  —  one  of  whom 
is  about  to  mount  —  dogs,  peasants  and  their  flocks. 
Figures  are  by  A.  van  der  Velde. 

Signed:  “J.  v.  Hey  den.” 

From  the  Collection  of  Dr.  Max  Wassermann,  Paris 


No.  68 

JAN  WYNANTS 

Dutch  School.  Born  at  Haarlem  about  1605;  died 
probably  in  Amsterdam  after  August  18th  1682. 

A  Road  skirting  a  Wood 

On  canvas.  Height,  29,5;  width,  38,5 

A  wide  road,  stretching  from  the  foreground  towards  the 
background,  by  a  wood  with  low  trees.  On  the  right  a 
meadow,  in  front  of  which  is  a  collapsed  fence.  In  the  fore¬ 
ground,  a  man  and  child  on  the  road  and  a  couple  sitting 
down.  Further  back,  a  horseman  and  a  foot  passenger 
by  his  side. 

Signed:  “Wynants.” 


67 


No.  69 


PAULUS  POTTER 

Baptized  at  Enkhuizen  November  20th  1625;  buried  in 
Amsterdam  January  17th  1654.  Painted  in  Amsterdam. 

Cattle  Resting 

On  oak.  Height,  37  ;  width,  52 

In  front  to  the  right,  by  the  side  of  a  slight  eminence,  are 
six  cows,  three  of  which  are  standing  up  and  three  lying 
down;  by  their  side  lie  two  goats.  On  the  eminence  is  a 
bare  tree-trunk  in  front  of  a  group  of  trees  with  foliage. 
To  the  left,  a  ruin  and  a  piece  of  water  with  four  ducks. 
Warm  sunny  light. 

Signed:  “Paulus  Potter  f.  1649.” 

From  the  Perkins  Collection,  Paris  1893 


No.  70 

ABRAHAM  H.  VAN  BEYEREN 

Dutch  School.  Born  1620 — -1621  at  the  Hague;  died 
1675  at  Alkmaar.  Painted  in  the  chief  towns  of  Holland. 

The  Dessert 

On  oak.  Height,  72;  width,  57 

On  a  violet  plush  table-cloth  stands  a  fruit-dish  containing 
peaches.  In  front  of  it  is  a  silver  plate  with  a  half-peeled 
lemon,  on  the  right  a  knife  and  bread,  on  the  left  a  bunch 
of  grapes  and  an  upset  glass. 

Signed  with  monogram. 

From  the  Arthur  Kay  Collection,  Glasgow 


68 


No.  71 

WILLEM  KALF 

Dutch  School.  Born  in  Amsterdam  1621 — 1622, 
died  there  1693.  Painted  in  Amsterdam. 

The  Dessert 

On  canvas.  Height,  57;  width,  4.8,5 

On  a  table  covered  with  a  cloth  of  a  dull  colour  stands  a 
metal  fruit-dish  with  an  orange  and  a  half -peeled  lemon. 
To  the  left  a  silver  dish,  and  behind  are  glasses  and  fruit 
plates. 

Signed  (on  the  table):  “Kalf.” 

Arthur  Kay  Collection,  Glasgow 


69 


No.  72 

PETRUS  PAULUS  RUBENS  or  RUBBENS 

Flemish  School.  Born  at  Siegen  (or  Cologne)  June  28th 
1577;  died  at  Antwerp  May  30th  1640.  Painted  principally 
in  Antwerp,  also  in  Italy,  Madrid,  Paris  and  London. 

Portrait  of  a  Young  Lady ,  supposed  to  be 
Helene  Fourment 

On  oak.  Height,  8^;  width,  58 

Standing  with  her  arms  folded,  and  turned  slightly  to  the 
left,  she  is  looking  at  the  spectator.  Under  the  dark  velvet 
cloak  the  light,  low-cut  dress  is  visible,  with  a  pearl  necklace 
and  flowers  in  her  curly  hair,  which  is  bound  by  a  chain  of 
pearls. 

Life-size.  Half-length. 

Of  this  picture  there  are  a  number  of  replicas,  of  which  the  best  is  in  Buckingham  Palace, 
London,  while  others  are  in  the  Uffizi  Gallery  at  Florence  and  in  the  Brussels  Gallery  ( formerly 
in  the  Weber  Collection  at  Hamburg).  Max  Rooses  has  pronounced  all  these  to  be  from 
Rubens'  brush. 


70 


PETRUS  PAULUS  RUBENS 


No.  73 

PETRUS  PAULUS  RUBENS  or  RUBBENS 

Flemish  School.  Born  at  Siegen  (or  Cologne)  June  28th 
1577;  died  At  antwerp  May  30th  1640.  Painted  principally 
in  Antwerp,  also  in  Italy,  Madrid,  Paris  and  London. 

Portrait  of  the  Painter  Frans  Francken 

On  oak.  Height,  62,5;  width.  1)7,5 

Full  face  in  a  dark  costume  and  flat  collar. 
Bust-length  with  one  hand  visible. 

Replica  in  the  Musee  Fabre  at  Montpellier 

From  the  Collection  of  H.  M.  the  King  of  the  Belgians 


No.  74 

PETRUS  PAULUS  RUBENS  or  RUBBENS 

Flemish  School.  Born  at  Siegen  (or  Cologne)  June  28th 
1577;  died  at  Antwerp  May  30th  1640.  Painted  principally 
in  Antwerp,  also  in  Italy,  Madrid,  Paris  and  London. 

Christ  triumphing  over  Death  and  Sin 

A  sketch  on  oak.  Height,  68,5;  width,  1)6,5 

Under  a  colonnade  on  the  earth’s  globe,  around  which  a 
serpent  is  winding  itself,  in  front  on  the  ground  is  a  skeleton 
dashed  to  pieces;  on  each  side  two  Saints  and  Prophets. 
In  the  clouds  God  the  Father  surrounded  by  angels. 

Acquired  through  Joseph  Bonaparte  in  Spain 
Collection  of  the  Marquis  of  Camden  181)1 
Bredell  Collection,  London  1875 
Collection  of  H.  M.  the  King  of  the  Belgians 
Exhibited  in  London  181)3  and  in  Manchester  1857 
See  M.  Rooses’  “Rubens”  II.  Page  203. 

Smith’s  Catalogue  rais.  Supplement,  Page  21)5,  No.  7. 


71 


No.  75 


PETRUS  PAULUS  RUBENS  or  RUBBENS 

Flemish  School.  Born  at  Siegen  (or  Cologne)  June  28th 
1577;  died  at  Antwerp  May  30th  1640.  Painted  principally 
in  Antwerp,  also  in  Italy,  Madrid,  Paris  and  London. 

A  Landscape 

On  wood.  Height,  50,5;  width,  58,5 

A  peasant’s  cart  on  the  skirts  of  a  wood.  The  evening  sun 
is  shedding  its  glowing  light  on  the  broken  ground,  with 
trees  singly  and  in  groups.  To  the  right  is  a  cart  which  two 
horses  are  about  to  pull  over  a  stream. 

Collection  of  the  Marquis  of  Camden,  London  181/1 

Collection  of  Samuel  Rogers,  Esq.,  London  1856 

Thomas  Baring  Collection,  London 

Collection  of  Lord  Northbrook,  London 

Collection  of  the  Earl  of  Denbigh,  London 

British  Institute  Exhibition,  1850,  No.  28 

Max  Roose's,  Vol.  IV.,  Page  393,  No.  1205  Voeuvre  de  Rubens 

Smith's  Supplement,  Page  331,  No.  322,  designates  it  as  an  “admirable  picture ”. 


No.  76 

ANTONIUS  (ANTHONIS,  ANTHONIE  or  ANTONIO) 

VAN  DYCK 

Flemish  School.  Born  at  Antwerp,  March  22nd  1599; 
died  at  Blackfriars  in  London  December  9th  1641. 
Painted  chiefly  in  Antwerp,  Genoa  and  London,  and  for 
a  short  time  also  in  Holland,  Brussels  and  Paris. 

Portrait  of  Ferdinand  Boisschot ,  Baron  de  Saventhem, 
Privy  Councillor  to  the  Archduke  Albert 

On  canvas.  Height,  65  ;  width,  53 

In  a  black  coat  trimmed  with  fur,  with  red  orders  and  a  white 
ruff.  Looking  straight  in  front  of  him.  With  thick  hair, 
inclined  to  grey,  and  noble  severe  features.  Bust-length 
without  hands. 

Signed:  “1630.” 

From  the  Leon  Cardon  Collection,  Brussels 

Reproduced  by  F.  Buschmann  in  his  book  on  A.  van  Dyck. 

Exhibited  in  Antwerp  in  the  year  1889, 


72 


No.  77 


ANTONIUS  (ANTHONIS,  ANTHONIE  or  ANTONIO) 

VAN  DYCK 

Flemish  School.  Born  at  Antwerp  March  22nd  1599; 
died  at  Blackfriars  in  London  December  9th  1641. 
Painted  chiefly  in  Antwerp,  Genoa  and  London,  and 
for  a  short  time  also  in  Holland,  Brussels  and  Paris. 

The  Martyrdom  of  St.  Sebastian 

On  oak.  Height,  35,5;  width,  26,5 

Stkipped,  and  with  a  rapt  look  towards  heaven,  the  youthful 
saint  is  being  bound  to  a  tree.  To  the  right  are  two  soldiers 
on  horseback.  Sketch  for  the  Altar-piece  in  the  Munich 
Pinacothek. 

From,  the  Collection  of  Graf  Widman,  de  Wiese  Castle  near  Iglau  in  Moravia 


No.  78 

GONZALES  (GONZALO)  GOQUES  or  COCX 

Flemish  School.  Born  in  Antwerp  1618;  died 
there  April  18th  1684.  Painted  in  Antwerp. 

A  Family  Group 

On  oak.  Height,  68;  width,  91 

In  the  centre  of  a  portico  with  pillars,  an  elderly  married 
couple  sitting  on  a  dais  in  front  of  an  outspread  curtain; 
four  younger  couples  and  two  children  are  approaching 
them.  On  the  left  are  seen  a  solitary  man  with  a  letter 
and  on  the  left  a  Moor  with  a  horse. 

From  the  Manfrin  Collection,  Venice 
Described  in  Smith’s  Catalogue,  Vol.  IV.,  No.  20 


73 


No.  79 


GONZALES  (GONZALO)  COQUES  or  COCX 

Flemish  School.  Born  in  Antwerp  1618;  died 
there  April  18th  1684.  Painted  in  Antwerp. 

A  Family  Group 

On  oak.  Height ,  52,5;  width,  69,5 

In  the  foreground  on  a  verandah  stands  a  young  man  leaning 
on  his  stick,  by  his  side  his  fair-haired  wife,  and  on  the  left 
their  little  daughter  holds  a  greyhound  on  the  leash.  To 
the  right  rather  further  back,  a  girl  playing  the  lute. 

Smith’s  Catalogue,  Vol.  i,  Page  260,  No.  27 
Collection  of  David  Bailey,  Esq. 

Saltmar  Collection  18^6 
Adrian  Hope  Sale,  189i  London 
Rodman  Wanamaker,  Philadelphia 
Sedelmeyer’s  Catalogue  of  300  Paintings  1898 


No.  80 

CHARLES  EMANUEL  BISET 

Flemish  School.  Born  in  Antwerp  December 
26th  1633;  died  at  Breda  about  1710.  After  a 
prolonged  stay  in  Paris  he  painted  in  Antwerp. 

Portrait  of  a  Young  Man 

On  copper.  Height,  23,5;  width,  16,5 

Long  wavy  fair  hair;  standing,  looking  slightly  to  the  left. 
Dressed  in  black  with  a  bright  bandolier;  his  right  hand 
resting  on  a  mandoline  which  is  lying  on  the  table  to  the 
left.  On  a  light  ground. 

Small  size,  three-quarter  length. 


74 


No.  81 


DAVID  TENIERS  THE  YOUNGER 
(less  commonly  TENIER) 

Flemish  School.  Baptized  in  Antwerp  December  15th  1610;  died 
in  Brussels  April  25th  1690.  Painted  in  Antwerp  and  Brussels. 

A  Peasant  Wedding 

On  oak.  Height,  28;  width,  36 

In  front  of  the  farm  house  a  table  laid,  behind  which  a  curtain 
is  drawn.  In  the  centre  sits  the  bride  between  two  older 
women.  In  front  of  her  in  the  foreground  three  couples  are 
dancing  children’s  dances.  On  the  left  are  spectators,  and 
on  a  platform  two  musicians.  In  the  foreground  on  the  right 
amidst  all  sorts  of  utensils  is  a  young  fellow  asleep,  and 
behind  him  a  sunny  landscape  is  seen. 

Signed:  “D.  T.  ”  (The  “T”  within  the  “D.”) 

Niesewand  Collection,  Cologne 
A.  Neven  Collection,  Cologne 


No.  82 

DAVID  TENIERS  THE  YOUNGER 
(less  commonly  TENIER) 

Flemish  School.  Baptized  in  Antwerp  December  15th  1610;  died 
in  Brussels  April  25th  1690.  Painted  in  Antwerp  and  Brussels. 

At  Breakfast 

On  oak.  Height,  34;  width,  25,5 

In  an  unpretentious  room,  in  the  foreground  on  the  left, 
sits  a  young  man  at  a  round  table,  raising  his  full  glass. 
By  him  on  the  right,  but  slightly  in  the  background,  is  an 
old  woman  about  to  cut  him  a  piece  of  ham.  A  servant 
appears  in  the  doorway  with  a  filled  basin.  On  the  wall  is 
a  drawing  and  over  it  a  shelf  with  all  kinds  of  jars,  bottles,  etc. 
Signed  with  name. 


75 


No.  83 


DAVID  TENIERS  THE  YOUNGER 
(less  commonly  TENIER) 

Flemish  School.  Baptized  in  Antwerp  December  15th  1610;  died 
in  Brussels  April  25th  1690.  Painted  in  Antwerp  and  Brussels. 

A  Young  Couple ,  drinking 

On  oak.  Height,  24;  width,  27 

In  a  mean  tap-room  a  young  man,  with  his  hat  on,  is  sitting 
in  the  foreground  in  front  of  an  extemporized  table,  made  by 
placing  a  board  on  a  cask,  and  is  pouring  wine  out  of  a  jug 
for  a  girl.  On  the  right  an  elderly  woman  is  coming  through 
the  doorway  with  the  food.  On  the  wooden  partition  on 
the  left  is  a  leaf  with  an  owl  and  a  candle  drawn  upon  it. 
Signed:  “D.  Teniers  Fct.” 

Collection  of  Lady  Wantage,  Lockinge,  Wantage 
Collection  of  Sir  George  Donaldson,  London 


No.  84 

DAVID  TENIERS  THE  YOUNGER 
(less  commonly  TENIER) 

Flemish  School.  Baptized  in  Antwerp  December  15th  1610;  died 
in  Brussels  April  25th  1690.  Painted  in  Antwerp  and  Brussels. 

In  the  Picture  Gallery 

On  copper.  Height,  39;  width,  50 

In  a  room,  whose  walls  from  floor  to  ceiling  are  hung  with 
pictures  close  together,  stands  the  owner,  a  distinguished 
looking  man,  in  the  foreground  to  the  left,  while  the  young 
David  Teniers  shows  him  a  picture  which  a  boy  is  holding. 
Further  to  the  right,  near  a  globe  and  books,  is  a  little  dog. 
To  the  right  a  man  is  looking  through  a  doorway  into  another 
room  with  pictures  in  it,  in  which  is  standing  a  young  man 
with  a  picture  in  his  hand. 

Signed  with  name. 

Collection  of  Graf  Schonborn-Pommersfelden,  Paris  1867,  No.  225  in  the  Catalogue 
A  Hulot  Collection,  Paris  1892.  No.  51  in  the  Catalogue 
Jules  Porges  Collection,  Paris 


76 


No.  85 


DAVID  TENIERS  THE  YOUNGER 
(less  commonly  TENIER) 

Flemish  School.  Baptized  in  Antwerp  December  15th  1610;  died 
in  Brussels  April  25th  1690  Painted  in  Antwerp  and  Brussels. 

A  Landscape 

On  oak.  Height,  21,5;  width,  15,5 

In  the  centre,  at  the  foot  of  an  elevation,  is  a  little  group 
of  houses,  with  a  church  and  steeple.  In  the  foreground  to 
the  left  is  a  steep  eminence,  in  front  of  which  three  men  are 
engaged  in  conversation  in  the  foreground.  Of  these  three, 
one  is  sitting  down,  whilst  a  fourth,  who  has  a  stick  in  his  right 
hand,  is  just  going  away,  to  the  right  a  horse  and  some  sheep 
are  grazing. 

Signed:  “D.  T.  f.”  (The  “T”  within  the  “D”) 

From  the  Flory  Collection,  Paris 


No.  86 

ADRIAEN  BROUWER 

Flemish  School.  Born  at  Oudenarde,  1605  or  1606, 
buried  in  Antwerp,  February  1st,  1638.  Painted  in 
Haarlem,  Amsterdam  and  principally  in  Antwerp. 

Room  of  a  Surgeon 

On  wood.  Height,  31,5;  width,  2^,5 

In  the  foreground,  in  a  well  lighted  room,  a  surgeon  is  oper¬ 
ating  on  the  left  shoulder  of  a  patient,  who  is  screaming  with 
pain.  On  the  right,  at  a  table,  sits  a  boy  warming  a  plaster 
over  a  small  pot.  In  the  background  an  assistant  of  the 
surgeon  operates  on  another  patient.  In  the  rear  is  to  be 
seen  a  window  and  on  a  shelf  some  jugs.  On  the  right,  on  other 
shelves,  various  jugs  and  bottles  and  below  a  violin. 

Signed  below  on  the  right:  “A.  B.” 

A  copy  of  a  part  of  the  picture  is  in  the  Louvre. 

Collection  Arthur  Kay,  Glasgow. 


77 


'  No.  87 

MASTER  OF  HALF  FIGURES 

Flemish  School.  Painted  about  1520-1540. 

St.  Mary  Magdalene 

On  wood.  Height,  53;  width,  ^0,5 

Behind  a  table,  with  richly  ornamented  cover,  is  sitting  the 
young  Saint,  dressed  in  a  costume  of  the  period  about  to 
write.  She  wears  a  red  velvet  robe  with  short,  black  sleeves, 
from  under  which  appear  rich,  white  puff-sleeves.  Her 
abundant  hair  is  held  together  behind  by  a  handsomely 
ornamented  cap.  On  the  table  before  her  is  an  ivory 
receptacle,  behind  her  a  high  gold-pokal;  on  the  wall  a 
clock,  all  with  rich  Renaissance  Ornaments.  To  the  left  a 
latticed  window. 

Collection  Jules  Porges,  Paris. 


78 


BACKER,  Jacob  Andr. : 

Portrait  of  the  Go!  dsmith  Johannes  Lutma  36 

( (  a  i  c 

Portrait  of  the  Wife  of  Johannes  Lutma  36 

BEYEREN,  A.  H.  van: 

The  Dessert  .... 

.  68 

BISET,  Ch.  Emmanuel: 

Portrait  of  a  Young  Man 

.  74 

BOL,  Ferdinand: 

Portrait  of  a  Girl 

.  37 

BREKELENKAM,  Q.  G. : 

The  Fisherman  and  the  Cook 

.  45 

a  an 

A  Young  Couple,  taking  wine 

.  46 

CAPPELLE,  Jan  van  de: 

A  Winter  Landscape  . 

.  65 

CODDE,  Pieter: 

A  Lady  at  the  Piano  . 

.  51 

COQUES,  Gonzales: 

A  Family  Group 

.  73 

1 1  <  < 

A  Family  Group 

.  74 

CUIJP,  Albert: 

A  River  Landscape 

.  56 

a  a 

Starting  for  a  Ride 

.  57 

a  a 

Horsemen  in  front  of  an  Inn 

.  57 

a  a 

Landscape,  with  a  horseman  and  herdsmen  5  8 

DYCK,  Antonius  van: 

Portrait  of  Ferdinand  Boisschot 

.  72 

<  i  a  a 

The  Martyrdom  of  St.  Sebastian  . 

.  73 

FLINCK,  Govert: 

Portrait  of  a  Young  Man 

.  37 

GOIJEN,  Jan  van: 

A  River  Landscape 

.  55 

i  i  ii  ii 

A  Calm  Sea  near  the  coast 

.  56 

HALS,  Frans,  the  Elder: 

Portrait  of  a  Young  Woman 

.  34 

ii  ii  ii  ii 

Portrait  of  Sara  Andriesdr 

.  35 

HEIJDE,  Jan  van  der: 

Starting  for  the  Chase 

.  67 

HOBBEMA,  Meindert: 

A  Farmyard  behind  some  Trees 

.  61 

((  ii 

A  Road  by  the  side  of  a  Wood 

.  62 

ii  a 

A  Farmyard,  amid  some  oak  trees 

.  63 

HOOCH,  Pieter  de: 

A  Dutch  Home 

.  49 

ii  ii  ii 

The  Young  Mother 

.  50 

ii  ii  ii 

The  Flower-garden 

.  50 

JANSSENS  VAN  CEULEN : 

Portrait  of  a  Young  Officer 

.  40 

KALF,  Willem: 

The  Dessert  .... 

.  69 

KEIJSER,  Thomas  de: 

Portrait  of  a  Young  Nobleman 

.  38 

ii  ii  ii 

Portrait  of  an  Architect 

.  39 

ii  ii  ii 

Portrait  of  a  Gentleman 

.  39 

KEY,  Adr.  Thomasz 

Portrait  of  Adrian  Cromhout 

.  40 

KOEDIJCK,  Isack: 

A  Mother  and  her  Child 

.  51 

MAES,  Nicolaes; 

A  Cook  plucking  a  Duck 

.  49 

METSU,  Gabriel: 

Portrait  of  a  Young  Man 

.  44 

« <  <  < 

The  Letter  .... 

.  44 

ii  ii 

A  Lady,  feeding  her  little  dog 

.  45 

MOREELSE,  Paul: 

Portrait  of  a  Girl 

.  38 

NEER,  Aert  van  der : 

A  Canal  ..... 

.  64 

ii  ii  ii  a 

A  Winterlandscape 

.  64 

OSTADE,  Adr.  van: 

Rollicking  Peasants 

.  52 

ii  ii  ii 

Man  with  a  Hurdy-gurdy 

.  52 

ii  ii  ii 

A  Party  of  Smokers 

.  53 

INDEX  ( continued ) 


OSTADE,  Adr.  van: 

A  Peasant  making  purchases 

Page 

53 

OSTADE,  Isack  van: 

Rest  in  front  of  a  Public-house 

54 

i i  ((  it 

A  Horse  on  the  Highroad 

54 

it  a  a 

A  Winterlandscape 

55 

POTTER,  PAULUS: 

Cattle,  resting 

68 

REMBRANDT,  VAN  RIJN: 

Portrait  of  a  Man 

32 

it  it  ft 

Flora  .... 

33 

it  it  < ( 

A  Girl  at  a  Window 

33 

RUBENS,  Petr.  Paulus: 

Portrait  of  a  Young  Lady 

70 

a  a  a 

Portrait  of  the  painter  Frans  Francken 

71 

a  a  a 

Christ  triumphing  over  Death 

and 

Sin 

71 

a  a  a 

A  Landscape 

72 

RUISDAEL,  Jacob  van: 

Stagnant  Water 

59 

it  it  it 

A  Road  leading  to  a  Village 

60 

it  it  it 

View  on  the  Bleaching  Grounds 

60 

it  it  it 

View  from  the  Sand  Dunes 

61 

RUIJSDAEL,  Salom.  van: 

A  broad  River,  with  Cows 

58 

it  it  it 

River-landscape 

59 

STEEN,  Jan: 

The  Music-lesson 

46 

it  it 

Music-lesson  by  Candle-light 

47 

it  it 

Grace  before  Meat 

47 

it  it 

The  Drawing-lesson 

48 

it  it 

The  Siesta  .... 

48 

TENIERS,  the  Younger: 

A  Peasant  Wedding 

75 

it  it  it 

At  Breakfast 

75 

it  it  it 

A  Young  Couple,  Drinking  . 

76 

ft  a  a 

In  the  Picture  Gallery 

76 

a  a  a 

A  l.andscape 

77 

TERBORCH,  Gerard  : 

Portrait  of  a  Man 

41 

it  it 

Portrait  of  a  Lady 

41 

it  it 

Portrait  of  Herr  Jan  de  Graaf 

42 

it  it 

A  Girl,  reading 

42 

a  a 

The  Music-lesson 

43 

a  a 

Playing  Cards 

43 

VELDE,  W.  van  de: 

A  Calm  Sea  on  the  Flats 

65 

tt  t  6  it 

A  Calm  Sea 

66 

VERSPRONCK,  Jan  C. : 

Portrait  of  a  Young  Man 

35 

WOUVERMAN,  Phil.: 

A  Ford  near  the  Dunes 

66 

WYNANTS,  Jan: 

A  Road  skirting  a  Wood. 

67 

80 


A 


V 


